Worship Musician! Magazine - Sep/Oct 2014

Lincoln Brewster

Trusting God Like Breathing...

Oxygen

Breaking Through Depression

by Leann Albrecht

Product Review

The Yamaha 40th Anniversary Motif XF

Record Reviews

Bellarive Lincoln Brewster l Colton Dixon l Stuart Townend l New Wine Worship l

SEP/OCT 2014 Volume 12, Issue 5

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US $5.95 Can $6.95

Creating Ambient Tones for Worship by Jeffrey B. Scott l ”There is Power” Songchart

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Worship Sound Pro 101 Guides

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.

blisskatherine.com

Evening : Morning doesn’t sound like just another DCB album, though. Can you describe the sound of The Digital Age? When you’re in a band and have an established sound and way of doing things, then you start a new band, you get to pick and choose what you liked about what you’ve been doing. But you also have a really natural moment to question what you want to do differently. With The Digital Age, we’re still writing songs for the same congregation. UBC is about 70% college students, so we tend to sound like what college kids are listening to.

We keep a close pulse on that.

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

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

Walk me through your creative process in the studio.

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

Building a Mix It’s bound to happen at some point: the mix disaster. Maybe your church’s regular The Digital Age’s latest album, sound person calls in sick at the last minute.

Maybe new Evening : Morning,the is available now.volunteer sound person To fidoor, nd out more, to thedigitalagemusic.com! doesn’t know a volume slider from a sliding orgo a mixing board from a mixing You mentioned your studio in Waco. What made you decide to open a studio?

Whatever circumstance, something has to be done to save the service.

When David moved to Atlanta, we effectivelybowl. lost our recording and rehearsalthe space. We found this place in downtown Waco that was an old dirty boxing gym, and we built a studio in it. We spent three months renovating it. The boxing ring was Freelance live sound engineer Without decent sound, where our control room is now. It was designed

by B-Wack, and it’s been really great for us. the congregation won’t be engaged or inspired by the music, the message completely We practice and rehearse there, and we alsoand have bands come in and we recordmay them. It’sbe an extension of our ministry.lost.

It’s

Daniel Ellis

been great for us to be able to help new worship bands.

FOH engineer for The Digital Age

system may not be perfect — forewarning the team that Though creating the perfect sound mix for a service is a You still lead worship at UBC? be ideal will go a long way toward true art, a soundphase person no mixing experience Howeverything We’re still very involved at UBC. When we were in the construction on ourwith studio,little we tookora break from leading long have youmay beennot working with The and just went to church without leading worship for theachieve first time in a decade.

Those three months were amazing; was easing can still good sonic clarity and deliver theitmessage Digital Age? the process for everyone. At least they will know something we took for granted, and we didn’t realize how important was. Now, we’re one of several bandstips at for Thewhat first tourtoI did with them was as the David expect! with pleasant anditeffective audio.

Here worship are some UBC. Our goal is to play there around once saving a month, the depending our tour schedule.last-minute mix — whether Crowder Band, during the Remedy Club tour in 2007. day on with a quick, I was with DCB forit fiveon. years. Then, when they started Turn What gear do you use in your studio? you are working the sound booth yourself or have the help The4.

Digital Age, I mixed their very first show and I did a volunteer.

We are running Pro Tools HDX in our mainof control room. We use a lot of API preamps and the PreSonus ADL600. We theirTurn first tour, well. on as the speakers or the amplifiers last; this prevents loud use an LA2A compressor and a lot of gear that B-Wack made himself. Our main vocal mic is the Blue Bottle — so much thumps and pops from coming through the system. character and so easy to change sound. For1. guitars, we useit a mix of Shure SM57, Sennheiser e906, and Royer R121 mics.

What gear do you use with them onstage?

Keep simple.

For bass, we use the Shure SM7B microphone. On drums, we mostly use the same Sennheiser Evolution series dynamic We use mostly Sennheiser mics, on just about Unfortunately, mix emergencies rarely 5. Reset the mixing board. mics that we use live. We use a Yamaha SubKick on kick drum, and a Sennheiser MD421 on snare. occur when you have everything.

Mostly the Evolution series. One thing I loads of spare time to work on a solution — it don’tBegin think I’ve anybodyallelse do isvolume that we use a byseen pulling the sliders (faders) down to We’re really into soft synths. We use Native Instruments Komplete. We also use Native Instruments Maschine heavily for Sennheiser MD441 on B-Wack’s snare. It works great almost always happens minutes before the service is programming. We lean a lot on Spectrasonics’ Omnisphere for pads.

We use Reason a lot for piano sounds and sequencing. zero. (Usually these are found at the bottom of each supposed to start. While your sound booth may have racks and gives us a fatter sound than other mics I’ve tried.

We also have a lot of vintage synths. channel mixer.) the channel gain to a mid On vocals, Markon andthe Jack both use a Set TC-Helicon of processors and sophisticated audio equipment, now is position knob is found at the top of each VoiceLive Touch to(Usually add reverbthis and delay to their How do you translate an album like Evening something thatwith workseffects live? or to randomly not the: Morning time totoexperiment channel on the Next, voices before they ever get mixer.) to me. That’s cool; reset it makesall the equalization (tone) A lot of it is decisions made in production. We use a lot of loops live, but one of our rules is that we never put anything in start turning knobs. Focus on the bare minimum you my job easier. on the mixer to their center position, which is controls the loops that can be played live — no vocals or guitar parts. That makes it more challenging in a live setting. So when need tolike get theparts joband done. special effects for we record, we have to be very intentional with things guitar not putLeave anythingthe on the record that we can’t essentially off.a Turn theX32. auxiliary At front of house, I run Behringer We use theor monitor sends off. Make another time. re-create live. orwell. solo buttons S16 sure digitalthat snake mute system, as That console is are disengaged. (Usually amazing.

It’sbuttons so small and light — in I can set up it upposition.) by these are off the Set the master What software do you use onstage? 2. Use what’s already there. myself if I needfader to. Whento weabout started the tour, I was volume 50%.

Ableton Live. On Mike D’s keyboard rig, he runs Live and Reason. He has a slew of Korg Nanokeys in addition to an M-Audio Hopefully, is already set up, theofcables and thinking, “There has got to be a reason this thing MIDI controller, and some of the keys are assigned to thingsyour such sound as mutes system and changing different values instead is so inexpensive, and I’m going to find out why.” triggering notes. We also run some vocals through Live forare effects. the snake run to the mixer, and the monitors are tuned I still6.don’t Begin testing eachI love sound source know why.

It’s a great console. it. in to prevent feedback. Plug the mics into the mixer or snake The guysthrough the mains. use Sennheiser 300 series in-ear monitors, What kinds of technical challenges do you see worship leaders facing today? their usesee the same that “oldis loop standby” and they mix them themselves using Behringer’s For us, the coolest thing you can do is createinyour ownusual loops. Ipositions. think when a Try lot ofto people something heavy, Have the main vocalist speak or sing into his or her mic. andthink other usually usethey —don’t again, they think that it doesn’t fit into the way microphones they do music. Or they they gear can’t doyou the songs because havenow is X32-Q app for iPhone. That’s been amazing. It’s so Bring the volume slider until much easierup to not have to worry about doing FOHyou can hear the vocals in the time toYou experiment new the technical know-how to pull it off.not It’s possible to do it. can get a copywith of Ableton Livegear! and a MIDI controller main speakers. or monitor sends andthe monitors at the same time, Turn and weup don’tthe haveauxiliary to for next to nothing and make incredible sounds with it. It’s been really cool for us to travel around and see these theengineer. vocalist can hear himself or herself in the monitors. a monitor churches start to learn and incorporate the technical stuff into the church services. love itworship when churchesteam. haveuntil 3. Have a conversation withWethe As you verify that each mic or source works, pull its volume take one of our songs, create their own loops for it, and make it their own.

Are there any unique challenges working with Explain to everyone that the regular sound person is not fader back down to zero. You can leave the aux (monitor) The Digital Age? You guys have had a veryavailable long relationship withhelp Sweetwater.

Why is to that? and that is required have the service go sends turned so on that the singers Since they run all thoseup effects the stage, what I get can hear themselves. To Relationship says it all. Wewell. love that if wemeans have questions about gear, we to can turn call and ask. We drummers love that This guitarists need down, feedback, run the stage monitors too loud. is a prevent wet vocal. When we starteddon’t out, sometimes it was if there is something that piques your interest, we’ll get a phone call to tell us about it. The prices are control volume, on.IfExplain the monitor way too wet, and we didn’t really have enough clarity always competitive, andneed as far astocustomer service goes, it’sand alwayssogreat. anything isthat ever wrong, in the FOH mix in the vocals. So we had to work on it’s always taken care of quickly. We travel a lot. If something isn’t working, getting a replacement getting those reverb levels down and make sure that quickly and easily is really important. It’s great to be able to get things fixed or questions answered they trusted me to add more reverb at the console if without hassle. We really love the personalized nature of what Sweetwater does. You’re always great it was needed. about asking what we need the gear to do. Even with a band like us, it’s so good to have somebody showing us how the gear we use can help us be better at doing what we do.

You and The Digital Age have been very loyal Sweetwater customers for years. Why is that?

Because of the relationship. Because of you! Seriously, You can find out more about The Digital Age at thedigitalagemusic.com. it’s because of you. We don’t just call a 1-800 number and get some random guy; we get the same guy. And the candy. You send candy with everything we buy. I never share it.

Call us today at (800) 222–4700

Photos by: Bliss Katherine

RSS V-MIXING SYSTEM

The Basics of

Photo by Jon James and Troy Behrens

Worship Sound Pro 101 Guides

7. Have the worship team begin to play a song.

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Watch for red overload or “clip” lights on the mixer. If you see these, turn down the gain controls at the top of that source’s channel.

M-200i (with S-1608 Digital Snake)

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

8. Build the mix by bringing up the volume faders for the basics first.

Guitar Sound

Start with the bass drum and the bass guitar, turning them up to a comfortable level and balancing them against one another. You may need to adjust the level of the master volume fader to get the overall level to the right point.

13. Don’t try to overtune the mix, and don’t make it too loud.

Set things up so that they are clean and clear, and at a comfortable, conservative volume level. Then stop! Once you Now focus on the vocals. Set them to a comfortable level, get to the point where it sounds okay — this should happen balanced against the bass guitar and the bass drum. The lead fairly quickly — stop tweaking the knobs. It’s easy to lose vocalist needs to be the loudest, with the background or perspective and get lost in knob turning, even though the goal harmony vocalsAs filling in behind.services and events become worship more diverse and tied into today’s culture, has already been achieved.

9. Turn up the volume faders for the vocals.

it’s

theon music involved become 10. Turn upinevitable the volumethat faders the performances 14. Here’s a final tip. increasingly contemporary. other instruments.

It’s just as common to see full-band setups on the platform as it is to see pianos,

When in doubt, focus on making the vocals, whether spoken One at a time, begin turning up the otherensembles. instruments. Start or sung, clearly audible. The congregation is there to hear the organs, and choir with the rest of the drums, then the guitars, the pianos, the message, which is contained in the words and lyrics. The music keyboards, and any other instruments. Adjust the volume as is inspiring and essential a great service, but — it plays just a if your setup can benefittofrom using a DI box especially One very attractive element of modern worship music needed. Balance each one against the vocals, the bass drum, supporting role in the grand scheme of things.

Ensure that the balanced involves outboard effects and other gear (with performance is the guitar — a very portable, versatile and the bass guitar. This is a place where you can err on the vocals are heard, and in theaddition service will be a amplifier, success! or requires extremely inputs) to your instrument that also happens to be relatively affordable side of being conservative. The vocals are the main focus, long cable runs. Balancing the signal with a direct box (compared to that hulking pipe organ). Though worship and you want to ensure that they are clearly audible. Use the helps to keep the signal strong and helps to remove pesky performers have been using guitars as accompaniment for other instruments to fill around the vocals, without obscuring electronic interference. There are DI boxes available to suit decades, the last few years have seen a boom in guitars them. As you go, adjust the master volume fader to control the every budget. as standout instruments. But how do you effectively overall level. integrate the guitar into your gathering without turning the Natural Sound, Even Plugged In proceedings into a loud rock show? Read on.

11. It’s time for the equalizers.

Going Direct Up to this point, we haven’t touched the equalizers (tone controls) on theThe mixer.

If you find thatsound the sound getting guitar is right up dynamic, natural of anisacoustic too bassy or boomy, “low” bass tone control to there use withthe the pianoorwhen it comes to accompanying solo reduce the bassartists frequencies a small amount instruments or ensembles with oneon instrument.

Until relatively such as bass guitar, keyboards, and piano.your Vocalists, especially recently, though, playing acoustic live meant remaining male vocalists, stationary may also need theirof bass reduced a small in front a microphone and fighting feedback amount. To increase the sound clarity of a vocal or advent an instrument, from the system.

The of onboard pickups add a small amount treble or high frequencies by using the them to freedof acoustic players from this fate, allowing tone controls on thatright mixer channel.

Beor careful with the plug into an amp PA system and,tone in many cases, controls, as overuse canthe lead to feedback! control guitar’s volume and tone. One mostly unsung but very useful tool for amplifying an acoustic guitar is

12. Fine-tune the mix and the themonitors.

DI, or direct box. In general

terms, purpose Adjust volume levels so that instruments andthe vocals are of a DI box is to the signal balanced, and adjust the bass and theconvert treble controls on coming from your instrument into a “balanced” signal channels as necessary to prevent boominess, harshness, or that’s compatible with the church’s sound system. Though many mixing boards allow you to plug straight in, using a DI on the platform means the signals coming from instruments and microphones are all consistent when they connect to the PA. Even if you’re an electric guitar or bass player, you >> BOSS

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

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Taking “direct” to an entirely new level, some acoustic guitar-centric pedals and even onboard preamps include very specialized EQ curves and effects that give your

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plugged-in guitar a more natural sound. Fishman’s Aura line actually includes stompboxes matched to specific body styles. Simply plug your favorite dreadnought or jumbo or >> PRESONUS $ and you00get a very classical into its corresponding pedal, 32.4.2AI goodStudioLive approximation of your guitar’s unplugged sound. Best More info on pg. 47 of all, this “microphone-like” tone doesn’t come with the baggage of feedback!

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Though EQ curves and pre-programmed algorithms can make a guitar sound great, today’s standalone modeling and effects units allow you to coax an incredible array of sounds out of your acoustic or electric instrument. The number of effects that can be applied is simply staggering, and, believe it or not, as modeling technology has gotten more advanced, it’s now easier to pack those effects into smaller and smaller effects units. One big advantage you

get from modeling effects (Line 6’s POD standalone units, for example) is the ability to get the sound of your favorite guitar amp while plugging straight into your church’s sound system. This means you get total control over your stage volume and tone — and you don’t have to lug that hefty amplifier on and off of the platform.

Big Tone from a Small Package Sometimes, however, there’s no substitute for the sound and response of an honest-to-goodness guitar amplifier. The trick is being able to coax peak performance out of your amp without shaking the walls of your church and drowning out your message. As recording guitarists and studio engineers can tell you, the secret to big tone, oddly enough, lies in using a small amp — especially if you rely on classic tube-powered units for that rich, sustaining tone. A small single-speaker combo amp is relatively easy to transport and move, and its controls give you immediate access to volume and tone adjustments. Using lower power levels, or wattage means you can “drive” the amplifier’s power section and speaker, getting the benefits of the amp’s dynamic response and full-sounding tone without blasting the congregation and overpowering the rest of your worship team. If you need more than just one great sound from your amp, consider a multichannel amplifier (usually equipped with separate controls for clean and distorted sounds, as well as tone controls and reverb adjustments) or even that most recent of amplification developments, the modeling amp.

How Many Amps Do You Need?

Small modeling combo amps provide a two-fold solution for worship guitarists. The first is versatility. Packed with multiple amp sounds and effects, a modeling amp can literally take you from shimmering clean sounds to uplifting, sustaining lead tones in seconds (and a footswitch is often included, so you can make changes on the fly). Secondly, you don’t have to give up portability and low stage volume to get the most out of these amps; in fact, modeling amps are voiced to provide very consistent-sounding versions of the amplifiers they emulate, even at low volumes — try coaxing the same sustaining lead tones from a real 100-watt amp stack that you can get from a preset on your modeling combo! Plugging into a small modeling combo lets you call up pretty much any tone you need for a worship performance. And the very compact size and light weight of such a combo makes it a snap to get on and off of the platform quickly. And let’s not forget the bass player, as there are plenty of great-sounding, highly portable modeling combo bass amps available that can hold their own on any stage.

Amp or PA? Since the primary goal of amplifying an acoustic guitar is to retain as much of the guitar’s natural character as possible, it’s important that your acoustic amplifier provide a very clean, transparent sound. So why not simply run your instrument directly into the sound system? While that’s a perfectly fine solution for many worship leaders (especially solo performers or small acoustic ensembles), those playing acoustic guitar in full-band setups or on larger stages benefit from the control and focused sound they get from a dedicated acoustic combo amp. Many of these amps include extensive EQ controls for fine-tuning your tone, as well as onboard filters that hold feedback at bay. Amps with built-in effects let you add even more body and depth to your sound. Plus, they eliminate the need for a complicated signal chain running through outboard effects pedals. Though acoustic combo amps pack plenty of sonic punch from a small enclosure, larger rooms still require sound reinforcement from a PA system. That’s where your amp’s built-in direct output comes in.

Using Your Amp’s Direct Output Most dedicated acoustic guitar and bass amplifiers include balanced direct outputs, giving you the option of running your rig through your church’s PA system without sacrificing the control and sound you get onstage. Several electric guitar combos (especially modeling amps) with direct-out capability are also available — some even include speaker emulation, sending very realistic amp tones straight to the PA. Using your amp’s direct output doesn’t just let you “have your amp and play it too”; it also allows you to handle the sound level that reaches your gathering. You can enjoy getting the sound you want on the platform, while your church’s sound engineer can make a mix that’s ideal for the room. All these great sound tools help to make playing guitar or bass in the worship environment a more inspiring experience for you — and your listeners.

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Online

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101 Guides

Sweetwater.com/worship

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

News and Articles

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

Multitracks and the Modern Musical Message

Find out how you can enhance your worship performances with professional-sounding accompaniment — and learn about the tools that make it happen.

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

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Music Licensing and Resources

Covers the copying activities that assist with your congregational singing. Over 3,000 publishers/ copyright owners & over 300,000 worship songs are covered.

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

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

Movie/Video Licensing and Resources

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

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

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Editor’s Corner

SEP/OCT 2014

Doctrine Matters and I Need to Get My Act Together… Features

Perhaps like me, you have been disturbed lately, by hearing 8 about a worship artist, a Christian band or a Christian recording artist that has veered off the road doctrinally.

Product Review

By Tom Brooks The Yamaha 40th Anniversary Motif XF

42 The Band

By Tom Lane Multiple Leaders, One Team

Ten Years of Drum Articles

45 Ministry + Artistry = Profitability? Creating your MAP™

By Scott A. Shuford Are You Re-Sending Your Emails to Your Unopens?

Some of the people are folks that I have interacted with in our magazines or conferences, people I have seen in concert, heard on records and even have an open relationship in 10 From the Drummer’s Perspective talking with them directly. People I personally like, one or two

By Carl Albrecht I would even call friends.

Then I hear of something they stated in a public arena or forum that is contradictory to basic Christian doctrine. Wow, 12 Keyboard that blows my mind! Now I am certainly not holding up

By Ed Kerr myself as the perfect Christian (I am far from it) or as a trained You Have Permission theologian (again, far from it) but when it comes to the basic tenets of the faith… we need to be on the same page.

15 Bass

By Gary Lunn I have always been involved in multi-denomination settings Super Nerd Alert! - Useful and take on a philosophy of “if we lift up the name of Bass Player Friendly Apps Jesus then we should all be able to get along”. So I am comfortable talking with people (our readers or registrants 16 Vocals at our conferences) who are from all the different kinds of

By Sheri Gould denominations and non-denominations. I can usually hang The “New” Choir - Part 1 with all of them (and the occasional folks who are just kooky).

I can also understand some of the plight of the disenfranchised 18 Tips for Tight Teams musicians who are believers as well.

By Sandy Hoffman What is troubling to me is when I see people that I respect as Variations On A Vision Christian musicians fall into some wrong doctrine sinkholes. (or: Whatever Happened to I know that this is nothing new as the Bible speaks about it, Mine?) but it still bothers me. I don’t think we should cut them out of our lives because as a friend I do care about them and 26 Songchart

By Lincoln Brewster want them to come back to sound teaching. Sometimes the There is Power Christian community over reacts and shoots their wounded.

But the question of the hour for me is how do we respond to those who veer off the road in grace and love, while still 30 Record Reviews

By Gerod Bass standing up for the truth of sound doctrine?

Even Christian organizations have these problems. And when other Christians over react they can literally throw out the baby with the bathwater. I know of one such organization that repented from one of their decisions a week after they made it and then still lost literally thousands of sponsors for Continued on page 36

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by The Adolph Agency, Inc.

vol. 12, issue 5

• Bellarive • Lincoln Brewster • Colton Dixon • Stuart Townend • New Wine Worship

34 FOH Engineer

By Bill Gibson Prayer and the Sound Ministry 37 Percussion

By Mark Shelton How to Rock (Percussion) 38 Cut-Capo

By Mitch Bohannon The Number System, the Short-Cut Capo, and the Keyboardist

44 Camera

By Craig Kelly Invoicing for Fun and Profit

48 Product Review

By Eric Dahl AER Launches Monte Montgomery Signature Amp (MM200) 50 Worship Team Training

By Branon Dempsey 9 Things You Can Do To Keep Them Engaged

Interview 20 Lincoln Brewster: Trusting God Like Breathing... Oxygen

by Aimee Herd

Featured Article 46 Breakthrough From Depression: Confessions Of A Worship Leader

by Leann Albrecht

40 Guitar Grab Bag

By Jeffrey B. Scott Creating Ambient Tones for Worship

WORSHIPMUSICIANMAGAZINE.COM SEP/OCT 2014

7

Product Review

By Tom Brooks

The Yamaha 40th Anniversary Motif XF As a producer, a studio owner, and keyboardist for the ‘Alan Parsons Project’, I manage to get my hands on lots of amazing keyboards... but this is something really unique! Yamaha is celebrating their 40th Anniversary by releasing a Special Edition Motif XF in a pure-white finish. Think of it like an XF on steroids!

Even though this is not a completely new synthesizer, Yamaha has taken their flagship XF, already a phenomenal instrument with over 1,600 Voices / nearly 4,000 waveforms, and super-charged it with the ‘Anniversary Bundle’ giving you brand new high-quality Voices, new effects, a 512MB Flash Memory card, and a 4 GB USB drive containing Chick Corea’s Rhodes, Keith Emerson’s GX-1, and lots more… HUGE! How Does It Sound?

For me, the litmus test for any new keyboard is simply, “How does it sound?”

In a curious bit of happy coincidence, just as the new ‘Chick Corea Rhodes’ finished loading, my iPod shuffle started to play “Spain”; a Chick classic! By bar 3 I was playing along and the match of the Motif to the sound on the album was unbelievable.

I have an original Mark V Rhodes in my studio, so my standards are pretty high…but I think Chick’s are even higher! You can tell right away this was sampled by someone who really understands the Rhodes and the way players use subtle changes in velocity to achieve the nuance of tone, the bite, the grit that makes this instrument so unique.

Next I had to check out the 97-key ‘Imperial Grand’, a 24 bit hi-rez chromatically sampled Bösendorfer piano, which happens to bear the name of my Boss, Alan Parsons. Alan used the same microphones and console that he used on tons of famous recordings, including “Dark Side of the Moon” by Pink Floyd and countless others.

This one, you’ll just have to hear to believe.

I will say this – because these files are so large, they do take a while to load…but be patient, it is definitely worth the wait. Just hit ‘load’ and go get Starbucks – Musical Adventures await when you return.

Detailing everything in the ‘Anniversary Bundle’ could fill a magazine – You’ll definitely want to scope out Emerson’s GX-1, the CS80, the ‘Ultimate Piano

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SEP/OCT 2014 WORSHIPMUSICIANMAGAZINE.COM

Collection’, plus you get everything from the ‘Premium Collection’ and the 10th Anniversary bundle, plus plenty of 3rd party discount coupons, membership to BroadJam. com and lots more.

How Does It Feel?

Growing up playing classical piano, the feel of the action is very important to me. I get to play the flagship weighted keyboards from all the major companies and the action of the Motif is my personal favorite. Their ‘Balanced Hammer-Effect’ is the closest feel you will ever find to an actual grand piano.

Taking it On the Road As it worked out, I received this entire 40th Anniversary package the day before heading to Europe for the final leg of Alan’s ‘Greatest Hits Tour’ and I have been using these new sounds in the show every night. In addition to all the classic rock keyboard sounds, layered grands / EPs / Wurli’s / etc, Alan’s music is also very orchestral. I use several different string patches throughout the show; Big Strings / Lush / Background for legato passages as well as Quick Bows / Aggressive for marcato sections.

I also use several French Horn / Brass Ensemble patches plus Woodwinds / Orchestral Percussion sounds / pipe organs / pads / ethnic instruments, and the XF handles all of these brilliantly.

Due to a Set List change a few days ago, Alan asked me to create a new sound-scape piece to open the show – Since I live every day of my life in Pro Tools, I have never actually sequenced anything on a keyboard before…so I thought here is the perfect opportunity to test drive the Motif sequencer! The XF did not disappoint – the 16 track sequencer is a breeze to work with; very intuitive and well laid out. And using the new sound palette, the on-board effects, plus the new arpeggiator, I had a killer piece finished inside 30 minutes that we

now use to open our set each night.

It’s Alive!

In live performance I take advantage of the Motif’s 8 faders to blend layered instruments in-and-out of my sound; fading in a string orchestra under a grand piano for instance or starting with an atmospheric pad and blending in an EP to take over. I also use the 8 control knobs to tweak synth sounds on the fly and create chaos when needed!

In total I use 32 different patches during the show and I take advantage of the XF’s ‘Favorites’ feature to put exactly the sounds I need on 1 single page, all just 1 click away…so I can move from soundto-sound super-fast.

More Great Stuff The XF is definitely a ‘Desert Island’ instrument for me – It now has 2 slots for Flash Memory Cards, allowing you up to 2GB of additional re-writable waveform memory (this is huge!). The sounds are amazing, expressive, dynamic, and realistic.

Great keyboard feel, outstanding effects, a clever arpeggiator, plenty of connectivity…there is really very little about the XF that I would change.

Maybe it’s a little pricey for some and a little heavy to lug around, but when it comes to making great music I won’t hit the road without it.

Tom Brooks is the original Producer of Integrity’s Hosanna Music Series. He runs Master Recording Studios in SoCal and his “Language of Music” book is available through Hal Leonard Publishing.

MasterRecordingStudio.com TomBrooksMusic.com

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adjusting to the angle and position you need, the MicroBoom fits in those hard-to-reach places and then disappears so your choir will be seen and heard.

From the Drummer’s Perspective

By Carl Albrecht

Ten Years of Drum Articles Wow! I just realized I’ve been writing for Worship Musician Magazine for a little over ten years. I pray these articles have been helpful and inspiring to all that have had a chance to take in some of these musings of a worship drummer. As we continue to journey together as minstrels for the Lord let’s look back a little to reflect, and “cast vision” forward to launch into the future.

Don’t wander off the path. I’m going to move quickly. I wouldn’t want you to miss anything or get lost.

Some of you may be working with one band or worship team. You may not even travel to do the music the Lord has called you to. It really doesn’t matter. Either way, we continue to learn and grow by remaining faithful to whatever the Lord gives us to do. This applies to any musician, whether you’re a “road dog” or a local “muso”… live player, studio musician, or both.

Looking back helps us all in this journey.

We can definitely learn from the past and those that have come before us. But we don’t want to get stuck there. We’ve got to keep growing and adapting. Staying disciplined in the art of drumming has been the bulk of my writing. We’ve talked about practice routines, technique builders, tuning concepts, equipment maintenance, song interpretation, groove development, soloing, and so much more. I’ve also written a lot about the “soul” of drumming, having a positive attitude, keeping your heart right… loving God & loving people. All we do is built on this. If you remember, Jesus even said that all of the law and all of the prophets are summed up in those two commands. Matthew 22:36-40.

So, to review ten years of stuff let me blast through some thoughts. I’ll be random rather than strict and structured. Sort of a drummer’s collage! *Note: stop and ponder every phrase. HERE WE GO! Practice everyday… Listen to music other than your favorite style… Play something you’ve never played before… Go slower when you get stuck… Ah yes- PRACTICE & PLAY with a CLICK… Become more techsavvy; start with something and grow… Go listen to other bands, groups, artists, etc.…even some you don’t think you’ll like… Attend drum clinics AND clinics on instruments you don’t play… Always serve the artists, producer, worship leader, pastor.

Listen to Steve Gadd on anything!... Try tuning your kit differently… Always show up early… Eat healthier… Play as simply as possible… Play as busy as you can, but probably NOT when you’re with the band!...

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Play a huge kit… Play as small a kit as possible… Don’t be critical… Try to learn from everything you hear… Adjust your set up so it feels better… Play softer… Listen to the bass player… Try different heads on your kit… Play along with a recording of Bolero by Ravel on a snare drum tuned low; then play it on a tight snare.

Record yourself at every event and rehearsal you play for… Use the classic book “Stick Control” by George Stone everyday as part of your routine… Go into a drum shop and tap on every cymbal (don’t get in trouble; be discreet)… Buy a drum video and study it… Ask the singer if it feels good to them… Ask the house engineer if your kit sounds OK, AND if you’re playing too loud… Get good rest…

Video record yourself playing, and then watch and learn…

Listen to anything with Jeff Porcaro playing… Sing along with the songs that you play… Play your drums with lots of muffling, and then play them with no dampening at all.

Pray when you play, but ALWAYS watch what’s going on around you. Stay humble, there’s always a better player… Be confident, the drummer is the foundation of a band… Take care of your gear and any kit you have to play on… Go for a walk everyday… Take criticism and suggestions with the intent to learn what you can…

Even if you think your idea is better play what the leader likes… Play pretending you are your favorite drummer… Play 8 bars of a groove with a click without changing anything, but a do a fill in the 8th bar, and then add variations to the idea as you go into the next 8; do this for at least five minutes.

Be inspired by other players, not jealous or defeated… Play with your eyes closed… Balance your drum sound; don’t hit the cymbals harder than the drums…

Pray before you play! Be as prepared as you possibly can… Learn some basic miking and mixing concepts for drums…

Play drums like God really loves to hear what you’re doing, and bless Him for what He has already given you… Drink lots of water… Have lots of musical influences; don’t become an imitator of only one drum hero… Keep trying different angles and set ups of your kit to discover what feels best for you… Don’t play too many fills… Play drums like it’s a calling, not just a gig…

Sing your fills… Play music not just drums.

Keep trying new ideas, but know what

works for you and the music… There are four basic drum groove families: 8th notes, 16th notes, triplets, and shuffles (swing time)…

Don’t play only one style of music… Watch a Buddy Rich video clip on YouTube…

Always play it like you mean it… Play like you’re trying to make everyone else sound great… When you solo tell a story, don’t just hit things and make noise… Don’t be the loudest instrument on stage… Don’t be the loudest instrument in the room… Learn the rudiments… Try playing with a grip you’ve never used before… The drummer “drives the bus, but doesn’t own the bus” – you’re taking the band on a journey, be a good driver… Play more from your heart and less from your head… When you practice it’s OK to be mechanical; it’s the time to work out the details… Play to the room… Have big ears – musically speaking.

Always listen to drums on a recording in relationship to the other sounds you hear…

Copy, Copy, Copy EVERYONE; then try your own version of the same concept…

Learn to read music… Scan the Internet for drum ideas, especially when you feel stuck or uninspired… Practice some more with clicks and drum loops… Talk to other drummers about what they do… Ask other players (non-drummers) what they like to hear in a drummer… Don’t think too hard about what you’re doing, just do it; PLAY… Try sitting higher or lower on the drum throne until you feel comfortable… Play the drums that inspire you, but be inspiring no matter what drums you’re playing… Learn old songs, and learn new songs.

Be at peace about who God has made you to be; be faithful to that and you’ll be OK. Blessings as you continue on your drum journey.

Write to me with questions, suggestions, and your ideas.

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.

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Add a pulsing 8th note in your left hand (or have the bass player add this), and the drama is more SEP/OCT 2014 WORSHIPMUSICIANMAGAZINE.COM pronounced.

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1

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Bass

By Gary Lunn

Super Nerd Alert! - Useful Bass Player Friendly Apps I have come to realize that as a bass player, there are several apps and programs that I often use on my iPhone or iPad. Musicians are not always quick to share the little secrets that they have tucked away in the Music Apps folder on their phones; I will happily share mine with you.

click, and view a subtle, flashing click (if listening to one is not convenient for the current circumstance). If you happen to be the band leader, you can store several set lists complete with song titles, time signatures, note values, etc. Check it out if you want to know more about the many features that it has. Another As a session bassist and live performer, quite handy little app! there have been many, many instances I do quite a bit of file-share recording at where I have been chosen to write a home or on the road (many hotel rooms chart for the song to be recorded or have been my studio, and my clients played for an event. That means that never knew that their bass track was I get handed the legal pad, the pen, recorded in Australia, U.K., Sweden, and an mp3 file of the demo recording etc!). Sometimes file uploading can take (usually emailed to me or played on a while, especially with slow internet someone’s phone or computer that is speeds, wherever you may be. One thrown at me). At that point I shut out the app/program that greatly helped to world with my IEM’s or go to another ease the pain of that process is called room and write a chart by ear. After I Gobbler. It not only quickly accesses your am done I often delight in the fact that I frequented clients contact info (saves can open an app on my phone, scan the time) but it has its own compression chart with my camera and send it to a process that essentially doubles the printer (which usually makes an assistant actual upload speed that you have. engineer a little happier). This app is You never have to zip (compress) a file called DocScan Pro. It costs $2.00 and before upload! It uses the compression is worth every cent. You simply make process as a means to streamline active its camera function, take a picture uploading time (and it has never caused of the chart, adjust any corner anomalies a problem with the integrity of the bass (it automatically detects and outlines file). It shows you how fast an upload corners to be cropped and it can flatten speed you are achieving. You can also bent paper), save it as a black-and-white privately send multiple files or create a PDF (which it automatically brightens shareable public link to the file(s). Best up) to the folder of your choosing (after of all, it’s free just for signing up with creating). From there you can email, them. Yet another handy app! print, or open in any other program on On a hardware side note, I should your phone. Its also good for archiving probably describe some simple-yetreceipts, deposited checks, or any other effective recording gear that I use. Since important document that you need to I don’t claim to be an audio engineer scan and back up. Quite a handy little (a frustrated wannabe, maybe), I should app! mention that the reason I am able to Do you ever have the need to know the tempo of a song? ‘Need a click to practice with? An app that I often use is called Tempo by Frozen Ape (www. frozenape.com). It’s a very versatile metronome program with several easyto-manage features. You can tap-tempo quickly, dial up a vast variety of click sounds, select the note value of the

record pristine sounding bass tracks at home or while traveling is because, well, after starting with a good sounding bass and a low signal-to-noise signal path, I watch my levels closely and I run my bass through a super, high-end audio interface that doesn’t have a highend price. It’s the Duet iOS model by Apogee. It’s a very straight forward,

two-input, 4-output (headphone output is separate from the main output so you can dial up a separate mix for headphones if you need to)unit. When I use it with my laptop, it’s powered and connected by a single USB connector. It also has a mini-usb MIDI IO for keyboard programming or virtual instrument access with any DAW. At the retail music stores the Duet iOS typically sells for around $600. That’s pretty darn cheap for a pair of world-class Apogee converters. When recording, I almost exclusively use ProTools (it’s the industry standard in Nashville). Now, if only Avid made ProTools for the iPad...

One last app that I want to mention is a newer DAW that I have recently discovered that reminds me A LOT of ProTools...and it IS for the iPad. It’s called Auria by WaveMachine Labs.

It has WAY too many features to talk about in just one paragraph, but the two best things about it are that it’s very affordable ($50) and it’s easy to operate.

Like ProTools, it has many “deep” features; extensive editing capabilities, plug-ins, virtual instruments, etc. The main similarity is that in practically no time you can be importing tracks and recording along with them in minutes; almost as easily as a tape recorder.

Quite a handy app!

As bass players, we all should explore new ways of diversifying and broadening our horizons as musicians.

Discovering helpful “tools of the trade” always leads to new pathways to being a better musician with deeper understanding. May God continue to richly bless the work of your hands!

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

WORSHIPMUSICIANMAGAZINE.COM SEP/OCT 2014

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Vocals

By Sheri Gould

The “New” Choir - Part 1 It’s been quite awhile since I have visited the subject of choir. Recently I have had increased opportunities to speak/address the needs associated with participating in or leading a choir. As I travel around the world, my goal is always to encourage and help equip those I speak to. I want to help them to be able to accomplish their goals in all things having to do with music ministry. Since I last wrote an article about choir, I believe things have evolved somewhat and so I thought it might be time to revisit the subject. This article will be part one of a two-part series.

First I want to briefly review things I’ve covered in the past: A choir director is like a pastor- It’s very important to take advantage of the opportunity available to you as a choir director/ music minister/worship leader for truly loving your “flock”. A choir is very similar to a “mini-church” in that it is a body of believers set apart for a specific task. As a choir director you are the leader and therefore I am calling you a “pastor/ shepherd”.

Validate each and every person’s value and strengths- As a choir director, it’s important that you take the time to get to know each member well enough to understand their strengths and gifts. A choir member that feels important and necessary is much more likely to be committed and take the position of choir member seriously.

The director needs to be prepared and upbeat- As the leader in this music ministry (as with any other) it’s important that you be good at what you do. You need to set the example of being prepared. Know your music. Be familiar enough with each of the individual parts that you can spot a wrong note when it’s sung. If you feel inadequate with regard to your training (which is so very common) then take some courses or study on your own to get better. Grow!

that you maximize your rehearsal time by being prepared and having a plan.

Keep the rehearsals moving. Make sure people leave better off than they came.

Most people want to do a great job, it’s your job to help them do just that.

in authority over them and give them a grade at the end of the semester; in professional choirs the members are chosen and/or hired by a professional that is clearly in authority and in fact may be in charge of your paycheck.

TEACH your choir- And while you’re There is rarely any fraternizing between at the business of growing as a director, director and choir members in most of take your choir along with you. Never these situations. forget the wonderful opportunity you In a church choir however, it’s have to help shape and grow your choir. completely different.

Your choir You may not have a lot of extra time for members may be in other positions of this—in fact, you probably feel that you authority over you—for example, I have have none. But, let me assure you that always had the privilege of having my EVERY minute you spend teaching your pastor be in my choir. Three different singers new skills will save you time in churches that I served as music minister the future. You will be helping to fill their in all had pastors that loved to sing (and “vocal tool boxes” and once they’ve were good at it!). Your choir members acquired these new skills they will be may be filled with your close friends able to readily use them when you need (mine always have been). I even had my them to. It’s way worth the investment older brother (who was a great singer of time. Take five minutes—FIVE and way more talented musically than MINUTES—each week to teach them I ever will be and with more experience something new. Perhaps you don’t feel in better choirs than I had!) in my first that confident as a vocal instructor. You church choir. These types of situations can at least share with them each week can make it difficult for you to lead in a the things that YOU’VE been learning. I truly effective way. It can even contribute offer multiple resources on my website to to losing complete control at any given help equip you as a vocalist if you are time. But it is essential that you take and looking for some help. maintain control as much as possible.

Choose GREAT music- I can’t Take authority and realize that everyone emphasize this enough. When you are will benefit when you do. Make it clear choosing music make sure that the songs from the beginning who is in charge you choose “grab” you within the first and what the rules are. Then do your 10 seconds. Make sure that they are best to follow through. This will help to fun, exciting, beautiful, powerful, etc. make your time together enjoyable for You want to love the song so that you everyone and highly effective. can teach it with enthusiasm. You want your CHOIR to love the song so that they can SING it with enthusiasm. And lastly you want your congregation to be able to connect immediately with the song so that they can truly have a powerful experience.

Require respect for the directorOne of the most difficult things about working with a church choir is that although you are in authority by virtue I have always believed that most people of your position, you are working with truly don’t mind showing up for a rehearsal your friends and peers. This creates for that is effective. What people mind is an interesting dynamic. In school choirs, having their time wasted. So make sure the students are led by teachers who are

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Next time I will get into more of the nuts and bolts of how to work with your choir to make them the best that they can be and to be a total blessing to God, you and your congregation. Until next time!

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

TIPS FOR TIGHT TEAMS

by Sandy Hoffman

Variations On A Vision (or: Whatever Happened to Mine?)

It all began in 1981. Jules and I had just learned we were about to become firsttime-parents. As many conscientious young Christian couples do, we set out in search of the perfect church body in which to raise our soon-to-be baby girl.

Our God is (unquestionably) an awesome God, but He’s also sneaky! As a result, our family-church-search yielded much more than I had bargained for. Being the loving, gracious, merciful, all-wise, all-knowing, gentle God that He is, He set me up! In the process of conversations with a local senior pastor, I became, reluctantly, not only a firsttime-father, but a first-time-worship leader!

At that point in my Christian life, I had absolutely no worship leading experience to draw from. Though I had been writing and playing Christian-themed songs in local church concerts for a few years, I wasn’t even sure what my heart-felt take on contemporary worship styles and practices was. Consequently, I was shocked when the position of full time worship leader was offered. How to respond?

After a few weeks of prayer and counsel, I felt strongly that I could not say “no” to God. I took the position, and began frantic preparations for my first foray into worship leadership. What a ride! Those early months are still a blur of looseleaf pages torn from spiral bound worship songbooks. I would read and play the music and “they” would worship. Flip the page, sing the song, turn another, sing another. That was about the best leading I could pull off with my thenlimited knowledge of current worship tunes.

Having always been performance-driven and perfection-based, it wasn’t long before I began to drive my worship team crazy with unrealistic expectations of musical virtuosity and spiritual insight. I had so much to learn about exercising loving leadership, but at that point I hadn’t even been a worshipfollower yet. What did I know? Even though my music skills were reasonably adequate, my relational skills were nowhere near that.

I still hadn’t learned that great relationships with God and others far exceed the importance of great musicianship!

FAST FORWARD Fast forward to 2012. By then I had served for thirty-one years as either a worship leader or team member in at least five local churches in as many states. In addition, I had been a co-leader in the

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Music Department of a well-known parachurch organization. By alternately leading and following, I was catching on to the concept of servanthood—slowly.

I began to realize that the best leaders are the best followers. As a fledgling leader, there was no greater growth opportunity, no better way to learn, than to participate as a team player. As we serve, we observe. We learn from the successes and failures of others, apply the successes, and in humility, try to avoid our own failures along the way.

Sounds simple enough . . .

START WITH YOUR HEART It’s about that word: humility. Paul Young, the author of the best selling book, “The Shack,” spent some time with us at the Worship Mentor’s Network Gathering this year in Austin, TX. There were plenty of takeaways from our time together. Deep heart issues were addressed in great detail. But one quote from Paul stands out above the rest: “It’s fun talking about being a servant, but when someone actually starts treating you like a servant, that’s different!” I chuckle every time I remember that line, and then I nod my head “yes,” and embrace the reality of it. The scripture says it plainly: Humble yourselves in the sight of the Lord, and He will lift you up. (James 4:10 NKJV) The Levites in the Old Testament served in the temple. They followed orders.

The scripture says in I Chronicles 25:1, they were “workmen, according to their service.” Under the direction of their father, Asaph, they provided “music in the house of the Lord, with cymbals, stringed instruments, and harps.” It was not up to them to rule, reign, or originate collective vision. They simply did as they were instructed. They humbled themselves in the sight of the Lord, and trusted Him to take care of the rest.

SAME SOLID SERVANT Shouldn’t we, as worship musicians, have that same solid-servant attitude? It’s healthy. The truth is, when we cheerfully serve the vision of someone else, we’re not really serving them, we’re serving God through them! There’s a tremendous freedom to be found in supporting someone else’s vision instead of our own.

If you are a worship leader, please allow me to encourage you always to parallel your leadership roles with equal doses of followership. Serving promotes humble hearts, and healthy heads. It helps to strip away some of our ego, competitiveness, and blind drive, and allows us the freedom to give away our gifts with cheerful hearts. At times, and for seasons, following can be much easier than leading.

AND NOW For the past couple years, I’ve been blessed to serve as a team player, not always the leader. Trust me, it’s good!

There have been moments of profound joy and enjoyment as I’ve counted on God in new ways to inspire me to praise.

I’ve been allowed to improvise, arrange, and execute as any musician would, not always having to look over my shoulder to see if the team was following.

Yes, at times I’ve played songs I wouldn’t have chosen for myself or my team.

Occasionally, styles, arrangements, and tempos have not been in keeping with my professional tastes. Even my foundational ideals of what worship and liturgy should look like or accomplish have, at times, been challenged by those of other leaders. But I’ve been provoked in the process to grow beyond my personal preferences, and regularly to put the vision of another ahead of my own. It’s a Biblical principle, you know: “Dying to self and living to Christ.”

Whatever happened to my vision for worship? It’s still here, and solid as a rock, but God has expanded it to include the vision of others. He’s always pushing us to reach farther than our self-imposed boundaries and systems.

Though He never stretches us beyond our own elasticity, thankfully, He’s given us the visual acuity to see past our limited horizons, and embrace the possibilities!

Lookin’ good, Sandy Sandy Hoffman serves the worship community at Christ Church Santa Fe, NM, and beyond. Find out more about his “Tips for Tight Teams” online at: www.WorshipWorks.com

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CONNECT WITH US

Lincoln Brewster

Award-winning music, talent through the roof, beautiful family; recording artist and worship leader Lincoln Brewster has surely been blessed. But, when the health of his best friend—his wife, Laura— was threatened by cancer, Lincoln found he really could do only one thing… completely trust the Lord he had sung about and loved for years. Read about his experience and the songs that were borne out of that time…

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The doctors told us that the way [this particular cancer] is discovered in most of those who have it, is that the tumor grows so large that the appendix bursts, and then it gets all over your abdomen and is a mess. They said this [gall Lincoln Brewster: It was about four bladder attack] probably saved your days into recording, I was at a meeting life. So we’re really thankful. It was a for church and I got a text from Laura, scary, lengthy process to go through— my wife. She said, “I think I need to go she had two surgeries—and thank God; to the emergency room.” The condensed no more cancer. Everything has tested version is that she ended up having a perfectly clear. gall bladder attack; but they didn’t know what it was so they put her in the ER My first reaction (when I first found out and did a CT scan on her abdomen. In about the cancer) was to stop working the process, they found a very rare form on the album, but I felt like God was of appendiceal cancer—it wasn’t what saying, “Keep going.” I was like, “Lord, had actually caused her to go to the ER, I don’t even know how I could possibly be there for her, like I know You would which is the really amazing part. have me be there for her and still do AH: Wow, so because of something this.” But I felt like He was just saying, unrelated, they found it. Is that God or “Trust Me.” what?!

So, I started the album, my wife had LB: That’s right.

It’s funny, as cancer—got finished with the album, Christians we talk about being led by and she didn’t! I’m in the process now the Spirit... A year and a half before of learning the album to go play it live, that, my wife was supposed to have her and it’s funny; I know it’s me, but I don’t gall bladder out. And four days before really remember doing a lot of it. she was to go in for the surgery, both AH: Well that’s understandable; your of us—independently—were having bad feelings about it, like something mind was certainly elsewhere. just didn’t feel right. So, although LB: Yeah, for sure. we couldn’t really explain why; we AH: While you were recording the cancelled it. Sometimes you don’t know why [the Spirit is leading you a certain album, were there songs that were way], and sometimes you don’t need to borne out of that time, or were most of know. We’re called to listen to the Spirit the songs already written? of God and hear what He might be LB: You know, there were some that saying to us. For us, it was “wait.” we had written—maybe about half— And because we listened and waited, and there were some that ended up we ended up finding this cancer. changing... probably everything was Aimee Herd: Lincoln, not long after you began recording this new album, the bottom kind of dropped out of your world, didn’t it? Can you explain what happened?

Trusting God Like Breathing... Oxygen

affected by the situation. There’s a song called “On Our Side” that I wrote with one of our younger worship leaders—a really talented guy named Corbin Phillips. Originally that song was about God guiding us. I said to Corbin, “What if it said that ‘God is on our side’?”

Sometimes we just need to know and live as Christians, like we know God has our back, and that He’s for us. He’s not a cosmic killjoy waiting up in Heaven to smash us when we mess up.

I’ve been at the same church for fourteen years—I feel like, I don’t have anything to prove to anybody, I just want the things I do to be authentic. It was a good time of re-focusing I think, it just really brought things into a good light.

AH: And now, when you go back and play that song on stage, it will have such a special meaning for you, and one you can share.

in control. I’m gonna choose to trust Him and put my belief into action. I thought, “Alright Jesus, I trust You with every bit of this.”

AH: Obviously God was the Source, but specifically, what things—a Scripture, or something else—gave you strength during

LB: Definitely, I can’t wait to share the story and to have Laura hear it. I don’t AH: Right; just knowing He’s on your even know if she’s listened to it since we side can make all the difference in how got it finished. you live your life.

AH: There’s another song I’d like you LB: Yeah, just to know somebody has to talk about from Oxygen, and that’s your back, and in this case; the most “There Is Power.” important Somebody ever.

So, we LB: That was a song that Mia Fields changed it and the whole song started to come to life in a different way. We and I wrote, it was one of the first songs wrote several sets of verses for that song, written for the album, actually. You know and after Laura’s second surgery—the what’s funny; sometimes I’ll write songs major one—I was in the hospital staying and I have no idea how God will use the night with her. I was [in her room] it in my own life later. That was one of working on the verses late one night. those. It has a good declaration...

We had the song written mainly about When Laura was in the hospital, during salvation—which is awesome—but the day I would run over and cut a vocal I was looking at Laura, and I had this with Colby [Wedgeworth], and then run overwhelming sense that I wanted the back. I remember cutting that song— song to be for people going through and the chorus is very repetitive—I kept really tough times. I thought, what could singing “There’s power in the name of I hand Laura right now in this moment, to Jesus...” and I felt challenged honestly. encourage her? So I was literally writing Like; “Do I really believe that?” I felt like: lyrics, in that little chair next to her, while this is where you put faith into action, she was sleeping in her hospital bed in it’s something you say before you need the middle of the night. It was a wild it sometimes, and then it’s something experience working on that song in real you have to live. It just hit another level time. somehow, going, I’m not in control, th On April 16 , my wife and I celebrated human control is a complete and utter 20 years of marriage, I’ve got two kids, myth. I don’t control anything—God’s WORSHIPMUSICIANMAGAZINE.COM SEP/OCT 2014

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Lincoln Brewster

continued

this time?

LB: You’ve heard that expression that we are the hands and feet of Christ... and we may be the only “Jesus” that a person sees in their life. Well, one of the biggest things that God used in our lives during this time, was our community—our friends. I’m a part of a very large church, but it got really small during that time, in a really great way.

There were people who would show up at the hospital before, during and after surgery; friends whom I would go out and have lunch with; people praying for us; people watching the kids while we were going to specialists... I told our board and our leadership team, one day, “It’s one thing to work at a church. It’s another thing to experience the church community while you work there.” I got to be a recipient of something that I’m committed to help build, and it was really cool. God really used our church, for both me and Laura and it was awesome!

AH: Sometimes people, and families go through experiences like this and difficulties and it takes a toll on their faith, and on their peace of mind; or it can strengthen it.

Looking back, in all honesty, how has this experience affected your faith, and that of your family?

LB: I would say that God definitely used it to strengthen my faith. You know how sometimes you can say things that you know in your brain to be true, but it hasn’t really become a part of who you are? Trusting was like that for me. About three weeks into the ordeal [with Laura], I just went... “I’ve got nothin’. I don’t control anything, and I have to trust God.” That was a good place to get to.

AH: What about your two sons?

LB: We told our kids from early on. You know, before you experience something like cancer, that’s sort of something that happens to ‘other people.’ But when it becomes your reality—it really humanized it for us, and it was very scary. But, we sat the kids down and we told them everything that was true. It was kind of amazing that once we told them everything; we kind of went, “Huh. It doesn’t sound as scary as it felt.” I looked at Laura and said, “You and

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so... what I love about Michael’s music is that it’s so easy to move to it. You can put it on for a focus listen or have it in the background and it just seems to offer a lift, musically, it’s just fun to listen to.

“Live to Praise You” was the first track that we cut. I said I don’t want to sacrifice the guitar, but that I’m open to doing it completely differently than I’ve ever done it.

So, sometimes we’d do straight acoustic drums I need to keep telling ourselves exactly in the verse and then what we just told the boys, because what go to sample drums on the chorus to we told them was the truth.” You can really give it that drive and that punch forget to remind yourself of what’s true, on the kick drum. When we got “Live and just go off of “feel” and “feel” can to Praise You” done, I was like, “That’s be really scary when it is not informed it.” It’s got the guitar riffs... Some guitar by your brain. As a man, a husband players might listen and say, “Oh it’s not and a father, I learned a lot through this. that hard to play.” I would encourage I feel like [Laura and I] have a stronger them to try to learn it and play it like this! friendship; a stronger marriage. God used it to strengthen both of our lives, Doing a lot of that rhythmic stuff with groove and with pocket is pretty and I’m thankful for that. technical and challenging. If you give it AH: Was it difficult to concentrate on a head phone-listen, there are a lot of the technical aspects and musicality of left-right sounds that interplay together. recording this album, or was it more of Probably, I’ve played more guitar on this a source of release and refuge for you? album than any other album I’ve done, LB: It was probably some of both. if you look at how intricate the parts and Most guys can compartmentalize really the layers are. I did the same thing with well, but I’m terrible at it. But, I really the solos, I layered them: I would cut enjoyed working with Colby, he is such one solo, then I doubled a lot of them, a talented guy and he just made things then I would even run them through an so easy. I would say by and large, it was octave down, octave up, and then two a good thing for me to go and record, octaves up... plus the double, so you’d and be encouraged that we were going be hearing five tracks. to keep going in spite of what was If you listen to the solo for “On going on.

Our Side,” “Whole Again,” and AH: Technically speaking, where “Heartbeat,” all of those have that big there any things that you worked into layering. You don’t notice it overtly this recording that you hadn’t done on when you hear it, which was the goal, I just wanted it to sound like it was a previous albums? little bit different tone. And that it would LB: Yeah we did a lot of things fit into that modern texture well. But if I differently. One of the things, going muted all that [layering] you’d say, “Oh into this album, I think my tastes had my gosh, it sounds out of place.” changed a lot and [Colby and I] talked about what we could do together. One On “Shout It Out” I did a totally of the reasons I wanted to keep working different solo than I’ve ever done; I with him was to expand my horizons used a Wammy pedal and it almost and to do things that I normally wouldn’t sounded like a keyboard. But I wanted to try some things that were new and do. different for me. I think I also felt a So, we talked about the sound having little more freedom on the pop side of a bit more of a modern edge to it. My things. Mostly because I’m going to be kids like listening to Michael Jackson finishing up an instrumental album this

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Lincoln Brewster

continued

year (it’s a little more than halfway done) so for anyone who likes that type of vibe with guitar, they’ll get that in droves on that album. (Laughs)

there may be different times where He would say, “Share.” But that wasn’t one of them. I went in there to lead worship, and left my pain and sadness at the side of the stage, knowing it would be AH: Oooooo I’m really looking forward waiting for me when I was done... I to hearing that.

AH: Lincoln, I was reading a recent would choose my moments to be sad.

LB: Yeah, it’s been fun already and I’m quote of yours that I really liked, you said your job as a worship leader is to AH: It’s so interesting to be led by the really excited to get that finished up. sing and speak truth whether you feel it Spirit.

AH: On Oxygen, instrument-wise, were or not. I think that’s so important in the LB: Yeah. Sometimes, I’ll be teaching there any new guitars, amps or other times we’re living in especially. a worship break-out and people will be things you used?

LB: Feelings are so fickle and taking notes, and I just want to say one LB: Yeah, I used an amp called the unreliable... I was talking with one of thing: “Follow the Spirit.” There’s just Kemper Profiling amp which is one of the our worship team members recently, no handbook you can write for that. I coolest new products out there. I used it he said he was feeling like he wasn’t had to remember my role and my job, for almost all the solos, it’s really a great really wanting to be there, and it kind which is to encourage people and sing tool for guitar. And then, we used a lot of of flipped him out. He felt like something the Truth, regardless of how I feel, and plug-ins, which I’ve done in the past. The was wrong with him. I told him, “Man I’ve had to do that many times since. I main guitar tones on the album are Waves that definitely happens to me.” Not think it’s a good thing to remember for GTR-3, there will probably be people out every time I get up on a stage am I anyone who plays on a worship team, there who are mortified to hear that. I went feeling like ‘I can’t wait to do this.’ I may or who leads worship. through a lot of guitar plug-ins to try to be struggling, or exhausted and it’s the My pastor told me, “Lincoln, a find something I liked. I was a long-time last thing I want to do. But I think that mentor of mine said once, ‘Sometimes Line 6 plug-in user, unfortunately, you can’t when you do it anyway, you have the get Line 6 plug-ins for Pro Tools 11; they sacrifice of praise right there… what a you’ve just got to show up out of sheer faithfulness.’” I think God appreciates don’t even work. So I had to go back and beautiful thing. that. start from scratch, but I found some great Several years ago, on the same day; sounds with Waves GTR. For more about Lincoln Brewster’s new my best friend that I grew up with in project: Oxygen, log onto: We also used Native Instruments Guitar Alaska died of a drug overdose and my Rig 5, but mainly for the effects, and after sister almost died of a brain aneurism, www.lincolnbrewsteroxygen.com or GTR. That was a really good combination. and had surgery in Salt Lake City for www.lincolnbrewster.com I spent three days just working on guitar that. I found this out tones. I basically loaded every FX they had about 2 hours before into one plug-in setting so I could open that I was supposed to go patch, turn them on and have five or six lead worship for church. different reverbs, delays, compressors, I called my pastor (he’s filters... I loved using that combo. just awesome) and I told AH: For all the effects you used, the him what was going on and asked him what he overall sound was still so clean... thought. He said, “Well, LB: Thanks! It sits in the track nicely, in here’s the thing… you the context of all the instruments; it doesn’t can obviously do what poke you in the eye. you want to do, you AH: Now for Oxygen, you re-signed don’t have to come if you don’t want to… but with Integrity?

I know you pretty well, LB: I did. We re-signed another longand I feel like it might term deal. It’ll take us out a while—five do you some good”. albums—and I couldn’t be more thrilled.

I thought about it and The team is awesome, and I’m so excited said, “I’m gonna go to about it. church.” I thought, this AH: And what is the status of your will be good, I can go relationship with Fender guitars? there and lead worship, LB: We’re kind of on a new season of and get up and say, that as well, which I’m also pumped about. “Here’s what happened I’m working pretty closely with the artist to me today...” But I felt relations folks, and the brand-manager like God said, “Don’t folks. We’re going to be wrapping up do that. Go down there the details on this signature guitar that and lead, but don’t we’re working on. We’ll be working on say a word, don’t let it this fall; I’m not sure how quickly it will them know; they’re not come together, but they’re committed to it where you are.” Now,

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probably more than ever. I’m excited to continue working with Fender; they’re doing a lot of new and different innovative and thoughtful things, and I’m glad to be a part of that.

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

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Songchart

There Is Power www.praisecharts.com/25592 Lincoln Brewster Intro G / / / | A / Bm A | G / / / | A / / / Verse 1 Bm F#m G When two or more are gathered in His name Bm F#m G A He is there Bm F#m G For all who go who run to Him in faith Bm F#m G He is there Chorus G A There is power in the name of Jesus Bm A G A There is power power in His name G A There is power in the name of Jesus Bm A G A There is power power in His name Verse 2 Bm F#m G No fear no lie can stand against us now Bm F#m G A He is here Bm F#m G The One has come to silence ev'ry doubt Bm F#m G He is here Chorus Instrumental G / / / | A / Bm A | G / / / | A / Bm G Bridge Gma7 A One name one name can save Bm A One name breaks ev' - ry chain

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Key: D · Tempo: 80

Gma7 A Bm A One name always one name Je - sus Gma7 A One name one name re - mains Bm A One name we will proclaim Gma7 A Bm One name always one name Chorus (2x) Tag G A Bm A G There's power in His name A Bm A G / / / There's power in His name Ending (G) / / / | / / / / | / / / / | / / / / © 2014 Integrity's Praise! Music/BMI & Worldwide Echoes/BMI (all adm

by Integrity Music via CapitolCMGPublishing.com) & Sony/ATV Tree Publishing/Upside Down Under/BMI. Unauthorized distribution is prohibited. Words and music by Lincoln Brewster/Mia Fieldes .

G

A

oo

•

•

xo

••

Bm x x

•••

F#m

Gma7 oo

• ••

•

• • ••• • • • • ••

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Record Reviews Bellarive Before There Was 1. Let There Be Light 2. Your Great Love 3. Calling On Fire 4. Lazarus 5. Save Us 6. I Belong To You 7. Bring Us Back 8. Chains 9. Hallelujah To Saving Grace 10. Only You Can Raise The Dead 11. Caught In The Middle 12. From The Very Start Creativity in modern worship nowadays is in high demand. Live worship albums filled with driving guitars, endless pads and overly repetitive throngs of cliché filled lyrics are unfortunately becoming more the norm than the exception. Enter Bellarive. Hailing from Atlanta, Georgia their 2012 Freshman worship offering, The Heartbeat, took listeners by storm in with their unorthodox and poetic approach to congregational worship. Their newest release, Before There Was, brings forth 12 new creatively fresh and sincere tracks of authentic vertical worship for the church.

With most of the album immersed in the book of Ephesians, Before There Was is composed of songs reflecting God’s immeasurable grace, focusing on the light of Christ that overcomes the world.

The album’s opening track, “Let There Be Light” launches the listener into joyous worship with its smooth driving arrangement made tender and intimate by lead singer Seth Curran’s unique velvetly vocal as he proclaims; “Break down the walls, open our eyes, let there be light, let there be light”.

“Your Great Love” follows and is a relaxing mid-tempo anthem which explores the victory of Jesus and how He bought us on the cross.

Bellarive lets loose all their creative energy on “Lazarus,” which I would not necessarily consider a worship song per se as it is very wordy and would be difficult for any congregation to sing along with in a corporate worship setting. That being said, it’s my favorite song on the album because of the sheer magnitude of musicality and creative thinking that was put into it. *Gerod’s Personal Picks in bold.

By Gerod Bass “Save Us” focuses on Ephesians 2 as we hear about our helpless state of sinfulness and need of a Savior. The instrumentation is almost theatrical in nature and fits perfectly with the song’s theme. “I Belong to You,” and “Only You Can Raise the Dead” both serve as solemn praises that break the action effectively, while “Hallelujah to Saving Grace” works well as a modern hymn of sorts.

I am a huge Bellarive fan. Their creativity and ground-breaking worship style are a breath of fresh air which in and of itself is great but I have also had the pleasure of spending some time with them as I was privileged to host them at our church for a concert and Sunday worship. I can tell you that they are great musicians and even better people. Every band member exemplified the heart of a servant and ministered to our people as well as me personally. This is another great album from what I would consider the front-runner in the area of creativity and authenticity in the modern worship realm. Go pick this one up.

Lincoln Brewster Oxygen 1. Live to Praise You 2. Oxygen 3. Made New 4. There is Power 5. On Our Side 6. You Never Stop 7. Let It Be Known 8. Sinking Ships (Rescue Has Come) 9. Whole Again (Come Alive) 10. Heart Beat 11. Shout It Out It has been medically proven that the human body can live without food for four weeks, without water for up to 100 hours, but oxygen is a completely different story. Without oxygen, the body begins to shut down within 2 minutes and brain damage begins after 3 minutes. Worldrenown worship leader, Lincoln Brewster’s latest release, Oxygen, is a worship thrill ride that reminds listeners that God walks alongside His people during the struggles of life and that we need him more than we need oxygen to survive.

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

Bellarive Before There Was Lincoln Brewster Oxygen Colton Dixon Anchor Stuart Townend The Path of Grace New Wine Worship Spirit Fall highest marks

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The past few years have been a bit of a roller coaster for Brewster since his Christmas Album release in 2012. He left and then was re-signed by Integrity, and just four days into the recording of this new album, his wife was rushed to the emergency room where she discovered she had a rare form of appendiceal cancer. A close friend of the Brewster family’s son was also killed in a car crash that same year.

Not surprisingly, Linc’s newest release captures the tension and release of grief and uncertainty as it gives way to the certainty and truth of God’s faithfulness.

“Live to Praise You” kicks off the album with huge energy as the techno-drive and funky bass lines are superb backing for Brewster’s flashy guitar work as lyrically this song tells of God’s hope that overcomes every despair of life.

The album’s title track is another highenergy worship romp that reminds this reviewer of Tomlin’s “God’s Great Dance Floor” with the theme centering on our incredible need for Christ in every part of our lives.

Oxygen’s most tender worship moment is found on the piano ballad “Whole Again” where Lincoln sings tenderly and passionately about how intimately our God knows us and “Sinking Ships” is a heart-felt song of hope Utilizing the richly flourished metaphor of God coming to save us when we are lost at sea and the storms of life seem to take over.

This album has a bit of a different vibe than one would expect from Brewster releases with most tracks leaning toward the modern pop genre but there are still plenty of classic Lincoln guitar riffs throughout this gem of an album. It is easy to focus on the incredible guitar skills of Lincoln Brewster, but I am constantly amazed at the vocal prowess he has as well. If you have ever tried to sing a Brewster song, you know what I mean. A lot of these songs are going to be tough for an average worship team to emulate and it would have been nice to have at least one or two more quieter offerings included in this collection, but there is no doubt that Linc is back with greater passion, depth and sensitivity.

Colton Dixon Anchor 1. S.O.S 2. Our Time Is Now 3. Walk On the Waves 4. Anchor 5. Echo 6. 35.8438, -86.4518 7. More of You 8. Loud and Clear 9. Fool’s Gold 10. Dare to Believe 11. Through All Of it

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Record Reviews 12. Limitless 13. Back To Life 14. This Isn’t the End Finishing seventh in most competitions wouldn’t get you anything but a pat on the back and a “nice try” from a friend or family member unless that competition is American Idol. Typically, finishing in the top ten gets you a recording contract, fame and lots of fans but it is clear that this is not what Colton Dixon is all about. He exited the show on his knees praising God and giving Him all the glory for his success. The Tennessee resident and member of the Sparrow Records family made his first major impact on the Christian music world when he released “You Are” as his first single. After the success of the song and the hype of his first album A Messenger, it’s easy to see why his fans were so excited at the news of a new project, Anchor, which is set to release in mid August.

Known more as a pop artist, Dixon switches up his style a bit on this collection that is decidedly more rock driven which gives his songs more of an edge and purpose than his previous release. Songs like “Our Time Is Now”, “Back To Life” and “Loud and Clear” are driving, powerful songs that touch on the themes of God’s faithfulness, hope and faith.

Many of the songs here reminded me of one of Dixon’s favorite bands, Skillet.

I would characterize most of the songs on this album as more performance than worship but depending on your congregation there are a few that are definitely useable for corporate worship with most appropriate being “Echo”, “More of You” and “Walk On The Waves”.

“Through All Of It” is a stirring piano and strings laden prayer that is the most vulnerable track on the album.

Here Dixon celebrates and praises God for His faithfulness throughout his life and this is my favorite song on the album. The title track is an interesting blend of piano melodies on the verses that suddenly blasts off with the chorus boasting faith in God being the stronghold to grasp in the storms of life.

I really appreciated Dixon’s vocal talent throughout this project. He definitely has a special vocal gift and I am glad that He recognizes who gave him that gift and that he wants to use it to glorify God. This album is a bit over-produced for my taste.

There were times that I lost the message of the song because there was so much going on in the background, but this is still an interesting album full of great moments and God honoring lyrics that kept my attention throughout.

Stuart Townend The Paths of Grace 1.

2.

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4.

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Promise of the Ages Oh How Good It Is Good Shepherd of My Soul The Paths of Grace/Diary of

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An Agnostic 5. Singing Hallelujah 6. Oh Church of Christ Invincible 7. There is Grace For Me 8. The Lord’s Prayer 9. An Altar of Remembrance 10. Streets of the City 11. Liturgy of the Hours Co-writer of what is held by most to be the best hymn of the modern worship era, “In Christ Alone”, Stuart Townend is a trailblazer when it comes to meaty worship music. His theologically rich songs of praise have been sung around the world for years and his latest release, The Paths of Grace is another impressive collection of 11 new modern hymns for the church.

The album kicks off with a myriad of banjos, hand-claps, three part harmony and acoustic guitars as Townend’s folky voice floats above the lyrically strong offering, “Promise of the Ages”. Tracking the Bible’s story line about the promise of the Messiah from the Old Testament into the book of Revelation, this opener sets up the rest of the album well.

“Oh How Good It Is” follows and is one of the better songs on the album. With a peppy Celtic swirl, this is classic Townend, very singable, memorable and deeply rooted in scripture. This is a song we will be including in our Sunday service very soon.

I have rarely heard a better explanation of grace in a song than in the Susan Ashton and Chris Eaton co-write “There is Grace for Me.” This is one of those simple yet complex songs that most worship teams can lead and just about anyone can sing but is so theologically deep, it will bring you to your knees as Townend sings, “Your kindness reminds me/That there is one who understands/One who walked this lonely road before/One who gives the strength to say/Every hour in my deepest need/There is grace for me.” Yes, grace has not been more moving than this.

“The Altar of Remembrance” speaks of what spiritual sacrifice should look like and set to an alluring melody that even borrows from the hymn “Take My Life and Let It Be” and Townend’s version of “The Lord’s Prayer” is superbly original and pleasing to the ears.

Personally, I have never really been a fan of Townend’s voice but this album is another wonderful canon of scripturally deep, easily learnable and memorable worship songs that every worship leader should have in their Sunday repertoire.

New Wine Worship Spirit Fall 1. Light Of Your Love 2. Hope Is On The Horizon 3. Forever

4. This Is My Surrender 5. Spirit Fall 6. My Jesus 7. This Is Our Song 8. Unchanging Love 9. Strong God 10. On This Battleground 11. O The Blood 12. All You Are 13. The Father’s Love New Wine Worship is a yearly Christian conference held in the UK that impacts thousands of lives with the Gospel of Christ. These week long summer conferences feature intense prayer, Christian Teaching and worship led by some of the best up and coming worship leaders from around the UK. Like Hillsong, Jesus Culture and other eventdriven ministries, New Wine always releases a worship album dedicated to that year’s specific event although recently New Wine has decided to pre-record a live worship album before the event instead of during it for release to the public.

Most of the 13 tracks on this collection are newly penned with the standout tracks including “Hope On the Horizon”, which is a peppy, driving anthem about the hope that we have in Jesus amidst the trials of life, and the title track which is a stirring song about the power and freedom that we find in the presence of Christ. Susie Woodbridge’s angelic vocal shines throughout this track and the arrangement is soothing and yet powerful.

“Forever” is a celebratory Easter song that reminds us that we have a forever because of Jesus’ resurrection that features some great guitar work while “My Jesus” is a piano-led prayer that is very intimate and will connect worshiper’s hearts with the heart of God. Overall this is a nice collection of new worship from New Wine. A few of the songs here are a bit cliche-heavy for me and I wish they would have taken a few more risks musically but I really appreciated the authenticity and vocal prowess of the worship leaders featured here.

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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By Bill Gibson

Prayer and the Sound Ministry Pray for your sound team and ministry on a regular basis. People will be people, and even the most pure of heart can be tempted into sin, enticed into arrogance, or just tricked into stupidity. We all need constant prayer, but the music ministries seem to come under as much or more spiritual attack as anyone. After all, Satan is a fallen music director.

Also, I know that spiritual attacks can come through technology—I’ve experienced and overcome them. I was producing a Christian album in Seattle at a studio that had just taken delivery of the brand-new digitally controlled analog mixing console made by a British company called Euphonix. The board was one of the very first CS IIs manufactured.

It was brand-new technology, including real-time automation of every parameter.

For the early 1990s, this was cutting-edge technology. The digital controls offered groundbreaking automation potential, and the well-designed analog circuits provided silky-smooth analog sound.

I was the only Christian producer using the studio at the time. I usually had an album or two going at once, and I taught recording classes a few times a week. I got along well with the owner, the manager, the house engineers, and the other freelancers that I’d see from time to time. The studio did a lot of advertising work and also a lot of the early Seattle grunge rock stuff from Nirvana, Soundgarden, and so on.

the problem. Sure enough, four to six rhythm section and trying to get them hours into the mix, everything would to lock into the same feel together as a freeze up and the data would corrupt. unit, and they didn’t quite get it. I asked This happened far too many times in how many of them had a metronome. Of a row. I don’t know if it bothered me course, no one had anything resembling more that it happened or that we were a metronome, and some didn’t even crazy enough to start a new mix every know what one was. time they told us they had solved the problem.

Finally, we showed up and started the mix process, and it occurred to me that we hadn’t been praying before the sessions. In retrospect it seems pretty silly that we hadn’t been praying before each session, but as you might guess, we had absolutely no problems with that console from that time on. However, the rest of the engineers continued to have same problems we were having. After several more weeks, the studio owner got the rest of the engineers together to have me show them what I was doing to make the board work. Uhh, would you believe prayer?!

Time, Just in Time

I remember praying that we could come up metronomes for some of the key players, thinking that I’d probably just go out and buy a few for them—oh, me of little faith. The very next weekend after the last service on Sunday, a guy came up who I had never met and asked me if we had a need for any metronomes. I couldn’t believe it! I said sure, and told him that we were just praying about getting the youth group kids some. He seemed very pleased and ran out to his car. He came back with about 30 brand-new Seiko metronomes that were just perfect for our needs.

He said he worked at a surplus import place, gave me some story about why he had them and why this wasn’t a shady deal, and reassured me that it was all legal and aboveboard. I don’t really remember all those details, but I do remember that 20 or so youth group musicians and bunch of adults were very impressed by God’s provision for our youth and were encouraged in their prayer lives. Oh yeah, I never saw the guy with the metronomes again.

I was music director at a fairly large church near Seattle. We had a good group of musicians and some depth, but one of the things we decided to do was help the youth group worship team develop their skills. They had some excellent spiritual role models and needed some musical help. Each of the guys on the adult worship team Prayer works, and your team is very committed to give the players lessons worth praying for.

When it came time to mix the album I and to help them through the learning was producing, I was the first one in the process while their team grew. studio to mix a full-scale album that took Excerpt from The Ultimate Church Sound This was an endeavor blessed by Operator’s Handbook: 2nd Edition. Published by advantage of the console’s capacity.

We had track with two 24-track analog God—you could feel it. Strong bonds Hal Leonard Books. ISBN 978-1617805578 recorders running in sync, and we also formed between the youth and the had several virtual MIDI tracks and a pile adults. Our house was usually full of a bunch of high school worship team of outboard processing.

For more from Bill Gibson check members who just loved to hang out out www.billgibsonmusic.com.

When we started mixing everything and talk about music and worship and This month, Bill celebrates the worked fine, but every night for a whole all the other stuff that gets discussed release of The Bruce Swedien week, we would get four to six hours into in a group of excellent church kids. Recording Method by Bruce a mix that should have taken about eight They had to endure me showing them Swedien with Bill Gibson.

Swedien is the iconic engineer hours total, and the computer would corrupt a DVD of Steely Dan and trying to get who recorded all of Michael Jackson’s solo the automation data (the mix). There were them to appreciate the brilliance of their records (including Off the Wall, Thriller, Bad, constant calls to the manufacturer, and musicality and the tightness of their Dangerous, Invincible, and HIStory), Quincy every time we’d start a new mix with their Jones’ most successful recordings, and Count grooves. It was really a lot of fun. assurance that we were operating the Basie, Duke Ellington, Jennifer Lopez, and many One day I was working with the entire more! console correctly and that they had fixed

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their children that they help around the world.

Now if you get upset at their actions that is one thing, but don’t abandon the children they are helping. Those needy kids had nothing to do with a boardroom’s policy making. That to me is a huge loss for the children and the Kingdom.

There are several scriptures that come to mind to bolster my opinions here, but then again those of differing beliefs can throw out several other scriptures to prop up their own opinions as well. I guess the bottom line (just like in our own walk of faith) is this… when it comes to doctrine we are responsible for ourselves. It is up to us to take care of what, how and why we believe. We need to step up to the plate and know the truth. When you know the truth it is easier to spot the things that are off base.

Then, it is also up to us to decide how we treat those who have tripped up. I admit that I am still grappling with my approach to this but it seems like the latest and very public news stories of late have placed me in a position where I need to get my act together here…

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PERCUSSION

By Mark Shelton

How to Rock (Percussion) A slushy high hat and a heavy snare backbeat explode from the drum set. The thumpin’ bass line is locked in with the kick drum and the guitarist is cranking out some distorted power chords. As the keyboardist bears down on his grittiest organ patch, you reach into your arsenal of percussion and choose...what?

With a world of percussion from which to pick, what do you play when the worship band is really pumping out some driving straight-eighth ROCK? It might seem like great fun to jump in on the congas or djembe and move your hands in a flurry, but is that the best choice? My opinion is: USUALLY NOT. When the music is clearly “straightahead rock,” consider instruments (other than hand drums) that can cut through the dense mix of overdriven everything--AND make a major stylistic contribution to the overall musical texture.

Tambourine Whether played by a skilled studio musician or an unschooled lead singer, the tambourine rates as one of the mostheard percussion sounds in the annals of rock (probably a close second to the drum set). Those small metal discs (jingles) produce the high frequency “clack and shing” that can ride atop a thick mix of instruments and vocals.

Maracas The sight of Davy Jones shaking a fist full of maracas as he sang with The Monkees made an impression on me. I have logged a fair amount of time playing “worship maracas.” My general preference for a rock setting is an instrument having a combination of a plastic bulb with large beads that delivers a rather coarse/gritty tone.

Try rockin’ the maracas with the stream of sixteenths (or playing maracas in unison with the tambourine a la Davy Jones).

Stream of Eighths

Cowbell There’s something about on-the-beat cowbell that feels oh-so-good when played at that just-right musical moment. In contrast to some Latin styles in which a ringing/ open tone is preferred, the rock cowbell sound is generally dry/closed. The classic four-to-the-bar rock cowbell can be valuable as a driving element in a groove or it can give the listener a sense of pulse while the most of the band plays syncopated “hits.”

Sleigh Bells Not just for Christmas, the sleigh bells can rock year round. You might raise a few eyebrows when this instrument makes an appearance in July but the bright timbre can bring a ringing “ethnorock” vibe to the mix. Striking quarter or eighth notes works great as well as shaking sixteenths. Check out a couple of techniques for sleigh bells at www. youtube.com/watch?v=rCOoK2wepHc Besides being a timekeeper, the sleigh bells can be used as a coloristic element.

Jesus Culture’s cover of “Oh Lord, You’re Beautiful” provides an effective “shimmering” illustration.

Cymbal Crashes

“Play crashes on all the downbeats.” A • While doubling the snare drum back beat with single strikes on the worship leader gave me that command tambourine is common, consider on more than one occasion. I answered playing on either beat 2 or beat 4 the request with loud quarter notes on various cymbals. It certainly helped to rather than both.

Stream of Eighths kick things up a notch.

• Knuckles on the headed tambourine When things are rockin’ and the worship will give more punch than striking a leader wants to bring in an extra layer headless instrument. of intensity, some “third hand crashes” • Striking a headless tambourine with a might be the ticket. (Third hand crashes stick produces more attack that a bare is my term for cymbal crashes that the hand.

Stream of Eighths drum set player might add--if he had a • A steady stream of shaken eighths or Stream thirdof hand!)

Eighths These extra crashes do not sixteenths is a time-honored paragon have «to be only on the downbeats. You « 44 ˆ« ««ˆ« ««ˆ« ««ˆ« ««ˆ« ««ˆ« ««ˆ« ««ˆ« / might of rock tambourine playing. double a few backbeats or toss =============== =l in a couple of splashes on upbeats.

• Playing the stationary tambourine in eighths or sixteenths with your hands or sticks will deliver a different intensity that shaking.

shake tambourine or maracas.

1

With a bit of practice, you can add a few third hand crashes while playing

Stream of Sixteenths

«« «« «« «« «« «« «« «« «« «« «« «« «« «« «« «« «« «« «« «« «« «« «« «« ˆ« / 44 ˆ« ˆ« ˆ« ˆ« «ˆ ˆ« ˆ« ˆ« =l ================= / 44 ˆ« ˆ« ˆ« ˆ« ˆ« ˆ« ˆ« ˆ« ˆ« ˆ« ˆ« ˆ« ˆ« ˆ« ˆ« = =============== l

A favorite technique of mine is to hold the cowbell and strike it with the tambourine while shaking eighths or sixteenths.

Within the broad range of rock, both secular and sacred, a diversity of percussion instruments can be used. Although not usually my first choice when playing rock percussion, there are times when hand drums really fit. (The congas playing on Rare Earth’s “I Just Want To Celebrate” is a prime example.)

As you make your percussion choices, consider using conventional instrumentation according to the musical style (the tried and true) but also give yourself license to experiment outside the lines a bit.

1

An active freelance musician, 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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Cut-capo Guitar

By Mitch Bohannon

The Number System, the Short-Cut Capo, and the Keyboardist (Vocalist/Drummer/insert-your-non-guitar-position-here) How many of you/us have desired to learn the Nashville Number System and just felt overwhelmed? Yes, I see that hand. I remember when I first was exposed to it in college…I felt so “out of my league.” How could I ever grasp every chord in every key? If you are totally unfamiliar with the number system, in short, it is a system that replaces chord names with numbers.

The numbers represent the chord progression and can be applied to any chosen key for a song.

Over the years, I read and studied resources until I finally “got it.” Side-note Plug: It was just a handful of years ago that I found a resource that I wish I had found years earlier. It’s a book called, ”Music Theory for the Music Industry”

by Jeffrey Kunde (you’re welcome).

Lately, I have been exploring new ways of presenting and teaching the Short-Cut Capo. I fully believe that all musicallyinclined folk (that’s you) can begin to master the guitar by using the Short-Cut Capo. I was visiting with Mike Overlin, who I’ve known for years as part of CMS, at NAMM last week.

I knew his main instrument was Saxophone, but I did not know he was an avid Short-Cut Capo player until that visit! Something he said really reinforced what I’ve been thinking. Mike told me that even though he is first a sax player, he did not play the Short-Cut because it is easy, he uses it because

of the way it makes the guitar sound.

This is something I’ve often taught in all my classes… The Bible tells us (Psalm 33:3) to play with skill. But, we need to understand that SKILL does not indicate a level of difficulty… SKILL is being able to make the guitar sound like you want it to sound! So, let’s see if I can tie all this together – the Short-Cut Capo sounds great and is simple…and the Nashville Number System IS, in fact, understandable. Now, we’ll look at the Nashville Number System applied to the Short-Cut Capo.

A basic principle to understand is that the Short-Cut Capo “creates” an alternate tuning. When you change the guitar’s tuning, you are limited to whatever you’ve tuned the guitar to.

With the Short-Cut Capo, you’re able to play in the keys of “E” and “A.” So, now, we only need to start learning the Nashville Number System in TWO keys!

How’s that? Here’s what it would look like… Notice how many of the chords overlap in both keys! Figure 1.

Figure 1

Figure 2

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One of the first questions I am always asked when people are learning the Short-Cut Capo is, “where’s the G?” Well, for these two keys, the “G” is either a 3-chord or a 7-chord… not often used in the top CCLI songs. However, if it IS in fact needed, the “G” can still be reached with a barre chord. That being said, if you’re just starting to grasp playing the guitar… you do NOT need to learn barre chords. Most of the top CCLI songs we play will use only the 1, 4, 5, plus the 2 (minor) and/or the 6 (minor) chords.

Strum through these shapes. Memorize them by Number according to key of “E” or “A” – there are only SEVEN shapes to learn! Once you learn these two keys… changing keys is a breeze by adding a full capo 2 frets behind the Short-Cut Capo… i.e. full capo on fret 3 (Short Cut Capo on 5) = keys “G” and “C.” See Figure 2.

So, here’s the challenge. Worship guitar players – hand this article to your other musicians, loan them a guitar and Short-Cut Capo. Let them find out just how easy and inspiring it is to play the guitar! Remember, the main goal is the SOUND of the music you create with the Short-Cut… the simplicity is just (as we say in Louisiana) Lagniappe!

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

Creating Ambient Tones for Worship Let’s talk tone!

When it comes to worship, the modern electric guitarist is called upon to be many things: rhythm, lead/melody/hook player, extra bass layer player, and sometimes, pad/keyboardist.

Today, I want to share some tips for creating that last category, the wonderfully atmospheric, ambient tone.

What makes ambient tone so unique in the guitarist’s bag of tricks is that you’re striving to create something very un-guitar-like.

Sweeps and swells, sustain that rings out long after it should - these are elements that are not usually associated with guitar. But you can create this beautiful gem and give yourself a whole new palette of colors with which to paint.

At the core, you only need a few things to create a great ambient tone.

First, a volume pedal (or getting really good with your pinky around the volume knob) will help you with the beginning of your ambient tone.

With the volume down, strike a note or a full chord and slowly roll it up to the desired level. As you strike each successive note, you’ll repeat this action.

You can do some lovely sounding things with just that, but now, let’s spice it up and add a delay to the mix.

With your delay set to a long delay time and mid to high feedback times, strike a chord and swell in as before. Even with a

simple standard delay, you can achieve some really nice effects at this point.

And if you’re playing along as you read this, I’ve probably lost you for an hour. I’ll wait... :) Having fun? Good!

Now - let’s enhance that tone in a few different ways to achieve ambient tone greatness!

The reverb is the final stage of the tone stack and helps tie it all together.

In the studio world, I’ve learned to always put delay before reverb. This allows the delayed effect to happen, then get diffused into the reverb which “cushions” the delay, giving the effect that it fades off into space. You can use any flavor of reverb pedal, just put it after your delay in the effects lineup. Set up your reverb with a large sized space and about a 50-75% mix (blend to taste, of course). Now you’ve got even more space involved, so you definitely don’t want to move notes around a lot. This setup lends itself to single notes that spell a chord, arpeggiated, or stacked fifths that suggest a chord. Again, strike the note and swell it in, then fade it out and strike the next chord.

If you have the option to do so, running any time-based effects like delay and reverb through an effects loop on your amp can really help clarify the effect of the delay and reverb. It can be cool to run it directly into the input of your amp (and let’s face it, most people do), but if

you’re running your amp with a little grit or overdrive to it, you’ll notice the delays will not sound the same with each successive repeat. When the delay is in the effects loop, it copies exactly what you hear the first time you play a note, so you won’t get those changes in the tone as it dies away.

Which brings us to anything that comes before the delay and reverb: anything you want to do on the front side of the reverb and delay is fair game! Try distortion, add mod effects, try using a wah pedal (especially effective when you move it slowly from bottom to top and back again) - all these give you some very fun options to adjust your tone and make it really move.

Depending on what kind of delay and reverb you’re using, you may have even more options to play with on that side. Delays or reverbs with modulation can intensify the synth-y sound, but for this application, slower modulation speeds are usually better.

(Side note: for those playing with multieffect units like the POD, these same ideas will work. Just start with every effect except the amp modeler toggled off, and add volume pedal, delay and reverb effects AFTER the amp socket in the signal chain.)

My biggest suggestion is to start simply. Try one piece at a time, then add something. Discover how that one thing works, then add the next piece and see how that interacts with everything else. Put it together and play around for an hour.

Spend time in discovery, seek out what works and what doesn’t, before you step on a stage and try it out.

But above all else, enjoy yourself!

I’d love to hear what you come up with, so hit me up: on Twitter, @jeffreybscott on Instagram, @jbscotty

Jeffrey B. Scott lives in Atlanta, GA with his wife and 3 children, and is dead-set 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

Multiple Leaders, One Team It’s not uncommon for worship teams to have more than one leader on the platform, making it harder to flow as one team and not feel disjointed. It’s a beautiful thing however when the gifts of several interweave to create a tapestry in worship. It requires both maturity and humility to swim against the stream of a solo mentality.

one leading out. It required trust, but it worked. Even if the song we’d planned to do got nixed, we were not offended, what mattered more was following the Spirit of God. Unity brings a blessing!

Volleying back and forth between song leaders isn’t so much the difficulty, it’s balancing those serving in the role of worship leader. In most cases there’s a Paul gave great instruction to the clear leader bearing the responsibility of Corinthians. Starting in 1 Cor. 12:12, carrying the whole worship set. But let’s where he establishes that we are one say we have more than one capable body with many parts, all supplying of not only singing the lead vocal on a something we all need. Then in 1 Cor. song, but leading the moment or portion 14: 26 “…When you come together, of the set/service, or stepping out in a each of you has a hymn, or a word of ministry gift. It can and does work, but it instruction, a revelation, a tongue, or and takes practice. interpretation. Everything must be done Some thoughts: so that the church may be built up.” It’s 1. Planned flexibility: As we know, a great picture of how meetings ought preparation is a good thing and the to go but seldom do in my experience.

We could devote an entire book to some more we plan and prepare, the more of the reasons why, but my point is that ready and able we are to be flexible. if we’ll learn to walk this model out in a That’s how I see it anyway, but the being healthy and orderly way, there’s great flexible part can be very hard. It starts with deciding we don’t need to own benefit to the Body of Christ. any part of worship. We are sharing in Sometimes we fear and misunderstand a corporate meeting of believers, all of plurality, typically reverting to the old whom are important—some of whom adage that anything with two heads have other pieces of the expression. is a monster. I’m not arguing that God So make a plan and consider those on uses a single leader, but a good leader the team that are equally asking God recognizes the need for others in the to move and waiting on Him to speak. the body to contribute and makes room Plan to be open to Him speaking to them for them. I have seen and been a part and allow for the plan to change. If that of many teams where multiple worship doesn’t happen, stick to the plan and all leaders and pastors flowed together is still well. It’s about being sensitive and seamlessly and fruitfully. discerning.

One band I was in for years had 2. Deferring: Over time we learn not four very distinct and gifted leaders. It to simply be self indulgent as leaders or became a joy to trust the others as they dominate the time, but to welcome the stepped out, we didn’t fight for time or interruptions as He uses others on the leadership, but gladly shared it. We team. It requires a willingness to defer learned that each of us had strengths to others; honoring God by honoring spiritually and specific gifts that we and supporting them versus controlling naturally operated in. We planned the time. Early on I felt responsible to set lists, but often deviated as one fill all the gaps and carry the set in of us sensed the need to go another most situations I was leading. Now I’m direction. We didn’t resist or resent constantly aware that at any moment that, we embraced it and followed the

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that can change. Even if I’m the only worship leader I am looking for and anticipating God stirring others to contribute. One things for sure, if we’re not open to God’s interruptions then He likely won’t interrupt our plan. When we exercise the waiting and seeking muscle we are surprised by the Spirit! ! !

3. Order: Paul devoted a good many words to exercising order in worship.

Suffice to say that though there is great freedom, there is also great responsibility. When there is no order there is confusion and distraction. We are ultimately in control of the gift that God has given, they are subject to us. To ignore this truth can make us a hinderance to what God is doing rather than a help. There can be order even in the midst of the non scripted. What helps is for there to be a glue factor in place.

Whether that’s a small team of leaders that shepherd and guide together, or a single leader. The idea is that we are always aiming to discern what the Spirit of God is doing, saying, etc. And if there’s no clarity, or if there is some confusion, we then gracefully move it along. Again there is clear instruction for us to follow in the Word.

None of us leads from perfection, we all have to learn and grow into our gifts to become strong leaders. Ultimately it’s more about becoming humble servants in our leadership. If we’re willing to give room to let others lead out, we grow all the more. I also know that God is much bigger than the mistakes we’ll make in the process of our journey to maturity, but that it is His desire—that we mature!

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

Invoicing for Fun and Profit If you are a student, new to the industry or just providing your services for a oneoff project, you will probably need to submit an invoice to get paid for your work. Maybe this article will give you some insight into the process.

EXAMPLE ITEM Your Name • Name Fromage Gripage • Business Name – if any Mailing address • Address Yours • Phone Number However you are set up Number ID Federal or Number • Social Security Yodeling With The Stars Name ction ject/Produ • Event/Pro Big Ego Productions • Customer Name • Date of Service

Because I work on both sides of the • Position equation as a producer doing the • PO Number – if applicable production and payroll services as well • Rate – per hour or per day as a Freelancer submitting invoices for • Over Time/Rate my services for the past three decades, I • Expenses – parking, meals, etc can share a few of the things regarding • Total Due this subject that I have picked up • Please Make Payment To: along the way. I’m not going to try to navigate the rules and laws regarding independent contractor and employee project so I can invoice my client and get paid and pay everyone else on the status. (Perhaps you should though) crew I might have hired. I cannot invoice As a very small production company, my client until I get everyone’s invoice I want to get my details on every job submitted for a variety of reasons, one wrapped up as soon as at the end of the being that some clients use a purchase order method. That means a certain, specific amount has been agreed upon for goods or services and any deviation may be a really big deal.

That also means I have to make sure that everything adds up or adjust my numbers to make sure they do, so you may not only be holding payment up to yourself, but to me and everyone else too. Why? Because some end clients only pay according to the date of the invoice is received – not from the date of service. To make matters worse – it is becoming very common for client’s not to pay until 45 or even 60 days after receiving an invoice. So, bottom line is get your invoice in as quickly as possible so everyone can get paid quicker.

Now, onto what to include in your invoice. Here’s what I find best for people to include in their invoices. This is just an example of course, but I know this is what I like to see. There are some great sample of actual invoice templates on the web that you just modify to fit your needs.

You might be someone with no access to a computer. My advice is to get someone to help you so you don’t

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1/1/2011 Grip N/A $750.00/10 112.50 x 3 = $337.50 Parking - $37.50, Meal - $ 25.00 $1,150.00 Mailing Address

handwrite one and send that in for professional presentation reasons. It’s not a bad idea to follow up any emailed or electronically submitted invoice with a printed hard copy. I often ask for confirmation that a client has received an emailed invoice – just to be sure that they received it.

I hope this helps – feel free to join thousands of other new and veteran industry professionals in the free-to-join Linked IN group called TV Camera Operators. Or check out my free blog at CraigJKelly.com. You can also email with any question regarding TV production at zoomit.cam@craigjkelly.com

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

In addition, he writes for Worship Musician Magazine and conducts workshops for new and volunteer camera operators. Kelly welcomes comments here or via email at zoomit.cam@craigjkelly.com

Ministry + Artistry = Profitability?

Creating your MAP™

By Scott A. Shuford

Are You Re-Sending Your Emails to Your Unopens? or left unopened with out being read.

Most email list services like Constant Contact, MailChimp, etc. provide you with the results of your sends, including opens, clicks, and other stats for When you’re the one sending those your email newsletters or direct email emails, it’s a blow to your efforts to have your hard work sent right to the digital advertisements. One of those statistics is the “unopens”. trash bin.

Unopens are the list of email addresses As artists, one of the best communication who did not open your email. For the tools for staying in touch with fans is our folks who opened your email, you don’t email newsletter. With social media being want to hit them again with the same so prevalent, some artists have lessened message, but for these unopens, you can their use of email. That’s a mistake. With resend your message to that audience, fans generating higher than average open increasing your reach. Statistically, if rates of 20-35% or more for bands they your initial open rate is 20-30% on your are passionate about, email is generally first attempt to your audience, a resend more responsive than social media while to only the unopens could boost your allowing you 100% control of the message numbers by an extra 5-10%, bringing you send out. your grand total to 25-40%!

Many faith-based marketers are asking, What to do after you get your “How can I increase my email response? initial results: Wait at least 48 hours How can I get more people to read my but one week or two weeks after your email newsletters? initial send is even better, depending What’s an “un-open”? This is on how often you send out those when an email is received by a member emails. Get the list of your unopens via of your subscriber audience and deleted your software’s reporting area, and We’ve all done it; deleted an email without even skimming over it! It’s a great trick to clearing out your inbox, but you can also miss some great information!

reupload it as a new “group”. Then you can re-send key or urgent news or advertisements.

If you are already sending weekly, then don’t re-send to the upopens, since they are already receiving frequent communication from you.

This is a great way to raise your open rates, as you are targeting only those who didn’t open the original email.

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 media buying, 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.

YOUR GATEWAY TO THE CHRISTIAN AUDIENCE

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“As I thought about where to create impact that would expand our audience for LifeWay Worship, I immediately thought of FrontGate.

Their leadership position in reaching worship leaders, musicians and music fans continues to deliver for us.”

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visit FrontGateMedia.com

WORSHIPMUSICIANMAGAZINE.COM SEP/OCT 2014

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FEATURE STORY

By Leann Albrecht

Breakthrough From Depression (Confessions Of A Worship Leader)

or emotion to demonstrate it. It wasn’t until he started using a CPAP machine, to assist his breathing at night, that he FINALLY got some much needed rest and started coming out of the “fog.”

no way to put traction to our intentions because there was no time or space to change anything! I started to cry…and the meltdown began. Like a wet cold blanket, hopelessness and loneliness swept over my body, mind, and emotions. I felt gray and numb from the The day Carl experienced inside out. the heart attack, my “bank Facing the mountain of despair, the account of hope” went fragility of life was ever before me bankrupt and I sank deeper concerning Carl’s health. My spiritual into despair. My blood “faith side” said, “Carl is going to be pressure soared and I thought fine. It’s not his time to go because the I would explode from the Lord has so much more for him to do here stress. I tried to trust God on the earth. God’s got him covered.” and speak to the storm of my However, every time I dropped him off soul, “Peace be still,” but the at the airport, I was tramatized all over tempest raged on. again. Fear gripped me with thoughts Compounded with the like, “This may be the last time you ever anxiety of Carl’s heart see him” or “You need to detach from condition, our marriage was him because you could be a widow suffering for lack of attention. soon.”

Nothing was deliberate and we still loved each other but definite “neglect” had set Many times, when we can share our weaknesses, struggles and victories, in. I kept trying to bolster my emotions our testimony carries that same power with self-talk, “things will get better…just to bring breakthrough for someone else. hang in there…don’t give up.”

We don’t always know what goes on behind the scenes in the lives of successful leaders. However, I want to encourage you that the same struggles that are “common to all”, are truly “common to all.” The one truth that keeps me anchored in our ever-changing lives is that God helps everyone who calls out to Him. Recently, I experienced such a breakthrough as the Lord rescued me in my time of trouble while navigating life, marriage and ministry.

As many of you know, my husband, Carl, suffered a second heart attack in January 2014. It was a huge blow and shock to us!! Carl had been diagnosed with sleep apnea several months prior, which may have directly contributed to his heart condition. However, in that season, I often wondered, “where has my Carl gone”. Even when he was here, he wasn’t really here. I knew he still loved me but there was little energy

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When Carl returned home from the hospital, the seriousness of this event forced us to realize some things. We needed to make some changes in our lifestyle and commitments. We had subtly become great “working partners” in the “ministry world”, as senior pastors of The Well of Nashville, teaching as adjunct professors for the National Praise and Worship Institute at Trevecca University, and weekend travels for conferences, etc. In doing all these wonderful things, we had unintentionally neglected the tenderness and intimacy of a vibrant marriage relationship.

I could feel strength and life ebbing away, as though oxygen had been sucked out of my world. I was tired and depressed. I did all the natural things to help my body regain strength…. eating right, trying to sleep, only to be awakened with a restless gnawing in my gut. I even started loosing weight, thinking maybe I was just too fat! LOL! (Laughing Out Loud). Even my most pleasurable exercise of walking the dogs, became physically exhausting. I couldn’t figure out what was wrong with me.

Sunday morning, February 23, I woke up and the Lord reminded me that there was going to be a prophet, as a guest speaker, in one of our local churches. I told the Lord, I was NOT about to get out of bed, shower AND put on makeup, if there wasn’t a breakthrough in store for So we sat down with our calendars me, if I went. He gently encouraged me to move toward a happier marriage to go so I reluctantly pulled myself from by “scheduling” time together. What the pillow. a concept, right? That’s when we The entire service was good but I was discovered that we only had ONE only there for ONE thing…and that day off together, the entire month of was to get MY breakthrough! I was February! And the months ahead were desperate! There was a dark shadow equally booked. There seemed to be that loomed large over every part of my

world. I needed to know WHAT it was and to be released from the oppression of it. It was literally sucking the life out of me.

laps at full throttle!

Astounding!!

With each pounding step, I could breathe deeper. Once again, there was oxygen.

Even though the sun had been shining all day, at that point, God’s love and power broke through to my clouded heart.

For the first time, I felt hopeful since the “meltdown” had ushered in the “spirit of depression” weeks before. I was free!!

At the end of the service, we were invited to come forward for prayer. I immediately got in line. As I walked up to the guest speaker, he laid hands on me. Without any exchange of words he said, “The Lord is delivering you from the spirit of depression.” Instantly that bore witness with me. Only the Lord could have revealed that to him because I had never met the man before that moment. That was good enough for me! I CHOSE to believe it. Honestly, I didn’t feel anything when he prayed.

However, I knew what he had spoken was right and I was going to hang on to Our 30th wedding it until I got results! anniversary was in As I drove home the emotional June of this year. worked dam burst. I began to wail! I couldn’t We’ve through many difficulties in the past and even articulate what was going on we are determined to set new markers inside, except that I could feel the that exemplify the faithfulness and pain of my frustration, loneliness and breakthrough power of the living God. disappointment spill out in all it’s ugly As ministry increases, this reality is ever form. It was not a pretty sight! I cried before me; to be more deliberate and until I had no more tears. intentional about pursuing our love and As the afternoon wore on, I decided to marriage friendship. It must remain our take the dogs for one lap in the upper first order of “ministry”. It’s not always field above our house. Even though I easy, but our united efforts pay dividends was still weak and tired, I needed to that hold priceless eternal rewards. feel the sun on my face. At the top of With the help of the Lord, Carl and I are the hill, the Lord spoke to me and said, moving in the right direction. And let me “Now, I want YOU to take authority just say this, our current calendar looks over the spirit of depression and “all a whole lot different from our February its companions”, and command them schedule! Hallelujah! Now that I see it to leave you.” All of a sudden it was without the cloud of depression, I have clear to me! The prophet had identified hope, hope, and more hope. My hope WHAT had been oppressing me, now it rests and is seated IN THE LORD. It is was time for me to use my authority, in settled. The tempest has passed.

Jesus name, to command them to go. So This story is not just about us. We I did…. and they left!!! are simply two people out of a Something physical began to happen! zillion others who need some kind of Strength was rising and I felt my pace “breakthrough” in their lives. God has increase.

I could literally feel the your “breakthrough” waiting for breakthrough coming into my body! you. Go after it. Don’t stop until you Suddenly, the crushing weight of get it. Your moment of revelation might hopelessness and despair vanished. I be from a particular Scripture verse, a even went back to the house to put on dream, a friend or a stranger…. but at my running shoes and finished 6 more some point, you will clearly know what

has been standing between you and your breakthrough. Once you see the enemy’s strategy, he is exposed. By faith, take your authority and use it to bind his power over you. He CANNOT resist the power of Jesus name. He will flee and you will walk into your complete freedom.

In closing, one of my favorite leaders of all time was Winston Churchill whose quote carried such fortitude and expectation of victory, “NEVER GIVE UP!” May the Lord bless you with renewed strength and hope for ALL your breakthroughs!!

Leann Albrecht has been a worship leader, studio singer and clinician for the past 20 years. She has worked with artists such as Michael W. Smith, Steven Curtis Chapman, Amy Grant, CeCe Winan, John Tesh, Paul Baloche and Don Moen. Leann is currently producing for her new CD, Mighty And Glorious.

Leann and her husband, Carl, are ordained ministers of the gospel. They are senior pastors of The Well of Nashville www. thewellofnashville.com. She resides in Nashville, TN with her husband of 30 years. www.leannalbrecht.com

WORSHIPMUSICIANMAGAZINE.COM SEP/OCT 2014

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Product Review

By Eric Dahl

AER Launches Monte Montgomery Signature Amp (MM200)

As musicians playing in a church setting we are constantly trying to achieve a quality acoustic guitar sound and tone, without offending anyone and at the same time loud enough so the congregation knows where to clap and sing along. Direct boxes are a great way to get our sound to the sanctuaries sound system, but I personally need to hear myself on stage as well and that’s where an acoustic amplifier fills the void. AER (Audio Electric Research) is a German based amp company known for making high quality acoustic amplifiers that deliver maximum sound clarity in a minimum package perfect for most gigs or sessions. I got an education on AER after seeing them lined up on the floor of the acoustic guitar room in my local music store here in Nashville, and I noticed they kept selling out of them.

I discovered that AER has been around since 1992, and though certainly not the cheapest acoustic amps on the market, they are known for using some

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of the best components, providing top notch sound, and forward thinking amp innovations. When my demo arrived I thought the company had made a mistake and sent me two of their new amps to check out instead of just one – due to the size of the box. The Monte Montgomery Signature amp (MM200) is by far one of the largest guitar amps that AER is currently producing (weighs 30.9 lbs.).

But in reflection this is very logical since Monte is not your typical acoustic guitar player.

In fact what put him on the guitar player map originally was his unorthodox acoustic performance on “Austin City Limits” back in 1999 (you can still find this on YouTube and it’s a fun watch). Montgomery not only plays and solos like he’s playing an electric guitar he also uses guitar pedals that are considered unconventional for an acoustic musician. The Austin, TX native has racked up a slew of awards and accolades from “Best Acoustic Guitar Player” at SXSW for seven years running to being listed in Guitar Player Magazines “Top 50 All-Time Greatest Guitar Player” list. So when Monte sought an acoustic amplifier that could handle his unique playing style it makes sense that he landed with AER. Monte states, “I wanted something that I was proud to have my name on, and the MM200 is exactly that.” My review amplifier arrived with a classic style nicely padded AER amp cover on it, but the fun stuff was inside! The amp boasts a twin-channel 200 watt power amp (100w per speaker independently) that drive a pair of 8” twin-cone speakers. It also includes 4 built in effects (2 reverbs, delay, and chorus), auxiliary in, an effects loop, DI and separate gains for each channel. After plugging it in and grabbing my trusty Gibson Starburst acoustic I was able to dial in great acoustic tone quickly with this amp. My favorite feature on the entire rig was the “Colour” button

when pressed down it reduces treble and when released it lets the treble of your guitar ring with a nice brilliance. I also tested the vocal channel, which can be operated as a second guitar channel as well or a microphone input, and it sounded superb too and the effects don’t muddy the sound. The footswitch input allows you to mute the amp hands free, but there is also a button on top of the amp to achieve this same function.

Although larger than most of the AER acoustic guitar amplifiers, the Monte Montgomery MM200 is still smaller and much more portable than many other acoustic amps on the market. I’m also a big fan of their easy carrying handle which is recessed into the top of the amp like a speaker cabinet. Retail price for the MM200 is $2,099 with a street cost of $1,799. This may be more amp than some players need but I think it is ideal for singer/song writers and performing musicians that don’t want to haul an amplifier and a PA system to a gig. It also serves multiple purposes for recording and performing live with the connectivity it provides on the back of the amp. If you are playing, performing or collecting higher caliber acoustic instruments then it makes sense to amplify them through one of the better acoustic amps on the market. AER has created an incredibly versatile amplification tool in the Monte Montgomery MM200 amplifier. Not only would this amp work well in a praise setting but also for home bible study groups, youth group meetings, for outdoor church functions and definitely for the Worship Leader’s guitar! The bonus is it can function as a guitar amplifier and a portable PA system all in a convenient portable package. If you are in the market for a quality acoustic amp the new AER MM200 is worth test driving.

Eric Dahl resides in Nashville TN with his wife and daughter. He is the author of “B.B. King’s Lucille and the Loves Before Her” and he does a weekly TV gear review show called the FOX 17 Rock and Review.

Worship Arts Technology Summit

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

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Sept 19-20, 2014 Oct 17-18, 2014

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WORSHIP TEAM TRAINING

By Branon Dempsey

9 Things You Can Do To Keep Them Engaged Does your church sing? I don’t mean ¼ of the people, I mean the whole 100%.

If your church is like mine, then your answer is a ‘no’. If it’s a yes, then you may not need to read this article.

We all learn by default and mistakes. It’s painful, but clearly the best way. Here are 9 things I’ve learned to better keep the church engaged in worship: 1) Prepare the worship by prayer: this may sound elementary, but you know as well as I do not everyone of us spends time in worship before we worship. This is critical. Why? You can’t lead people in worship if you haven’t been there yourself. Worship doesn’t begin when the music starts. Worship beings and ends with God. We have the opportunity to engage with him from start to finish.

2) Make the key and range of the song easy to sing and easy to reach: This may not be a surprise, but are you doing it? We tend to like how our voices sound, but can the church keep up? No, because they are not music people, they are real people. You have to meet them where they are, not where you want them to be vocally. Your church has Harry, Sally, Billy Bob and Aunt Ethel, not Chris Tomlin, Matt Redman and Israel Houghton. If the later were true, you probably would not be leading worship.

3) Sing songs people know, don’t spend time teaching: the major time waster in the service is the “need” to teach worship. This is not to be done by the Worship Leader. Why? Because the Senior Pastor should be the teacher of worship; they are the true worship leader/teacher of the flock. Besides, people just want to sing, not hear two sermons. Sing songs people know. I believe we’ve inundated ourselves with music from having 40 top songs to 40,000. People in your church cannot learn songs that quickly, unless you’re Hillsong. The more familiar the song, the more meditative and worshipful because it’s easy. Don’t make people think or learn, just lead them.

4) Stay in an inviting spirit of worship and song - sing with them: This

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was one of the toughest things I had to learn as a young worship leader some years ago. Ok, many years ago. There is a huge difference between singing with them versus singing at them. No one needs a cheerleader. Your church loves you and knows your voice – that’s all they need to be led. Don’t force your voice or leading abilities, just sing with them and experience the oneness in worship together.

5) Be clear in your direction: vocally and instrumentally for the band and tech: My college Composition Professor told me: If people ask questions or have trouble with the music, it’s because something is not clear. This can be a result from the music or your direction.

Take time with your team to fully explain the map of the song and where/how you’re going to end-up. Take time to ask questions. You may never see your flight path, if your head is in the clouds.

6) Know the lyrics of the song and where you are in the music: This is a MAJOR interruption of the service. This is a key factor for me in leading the worship at our church. Know the words. It’s ok to use an iPad, sheet music or backwall to glance at the lyrics, but if you do not know them, neither will your people. How do I deal with this? I try to imagine/prepare myself if the power were to go out. How would I recover? If I truly know the song, I have the knowledge and ability to carry on. This is a true confidence builder for your personal leadership and your team.

7) Make Sure the Band Knows Where to Go: This involves dedicated preparation, practice and planning both before and at rehearsal. Map out where you want the band to go, yet allow room for creative input. You as the leader need to know where you are going. Your band needs your leadership as well. In your mind’s eye, create a “song picture.”

Make your frame, compose a setting and tell the story of the song. Guide the band along the journey and help them paint the picture God is leading you to create.

When you’re in the worship service, make your direction clear, connected and consistent. You will find that every

good song, tells a good story - so paint the story well.

8) Don’t Stop the Flow: Nothing kills a service more than the awkward dead space of silence, interrupted by a microphone feedback. It’s like a bad car accident with everyone watching and no one wants to remember. Don’t stop the song without having somewhere to go.

Keep the motion in flow. On the last bar of the song, have a keyboard or guitar chord/pad into the next song. Let the band fade out and let the transition of the other instruments take over. Lead one instrument/voice at a time, layering your way into the next song. Here’s where you can choose to add-in a short prayer, encouragement or Scripture - keep it brief. Make eye contact with the church, lead and sing with them.

9) “Follow what the Holy Spirit does.

You may lead them in worship, but He is the Ultimate Worship Leader.” A good trusted mentor said this to me; I continue to reflect upon his words. Each time I lead a service, I ask myself the question: what will the Holy Spirit do? Then I pray, Lord, lead me to sing the song you are already singing into people. You never know where the worship will take you unless you make God the driver. The service belongs to Him and the worship belongs to Him. May everything we do be accomplished through the Spirit of God. 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 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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