Worship Musician! Magazine - Mar/Apr 2013

KIM WALKERSMITH STILL BELIEVING Product Reviews:

Behringer X32

Record Reviews

MAR/APR 2013 Volume 11, Issue 2 03

0

74470 58440

Yamaha THR 10 Guitar Amp

7

US $5.95 Can $6.95

The Hymns Collective Session 1 l Daniel Bashta l Sanctus Real l Kim Walker-Smith l Hillsong United North Point - Inside Out “Cajon & Djembe” by Mark Shelton

l

l

“Is the Lord Really Present?” by Tom Kraeuter

FR NEW IS E SU E E!

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

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The Best Technology for Worship

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

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.

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

Go to Sweetwater.com/worship to learn more about MultiTracks!

Working with MultiTracks loops and tracks instantly gives your worship team a fuller, more professional sound. When you transition to working with clicks and loops, you need the right tools on the platform to make sure the team hears clearly and performs its best.

Here are some essentials:

LLive 9 TThis software pputs you in ccommand of yyour clicks, loops, and stems. It’s easy to use and has become very popular with worship groups.

MultiTracks M ult and the

Modern M o Musical Message

MultiT MultiTracks.com gives worship teams the tools they need to bring professional-sounding accompaniment and loops to the platform. profes

When you open a MultiTracks file in your DAW, you can easily pick the parts you need.

Without W ithoutt question, quest more and more churches are supplementing their live sound with multiple-track accompaniment and loops for live worship peerform mances This concept’s growing popularity has led to a demand for great-sounding tracks and loops that are also easy to work with. We spoke with performances.

Phillip Ph hillip EEdwards, dward founder of MultiTracks.com, and asked him about the transitions that churches are making to running tracks — and the gear they need effectively. Sweetwater is proud to partner with MultiTracks.com to provide the potential for a fuller, more professional sound on the platform. to do soo effec Ma Many M a any n ny worship leaders may have heard about running “clicks” or ““tracks” tra acks” in w worship, but these names don’t always mean the same Could you begin by describing the difference tthing hing ttoo everyone. every between track and a MultiTrack? Also, a click b etween an accompaniment a ttrack tr rack and and a loop?

Absolutely. I’m just old enough to remember going to the Christian bookstore cassettes of accompaniment tracks with the lead vocal removed. and seeing cas are not that kind of “track.” That is an accompaniment track to be MultiTracks ar used without lilive musicians. MultiTracks are a collection of all the individual “stems” from a recording. Our Original Master MultiTracks are the parts or “stems that the original artists use on tour to add in parts from their own same thing tha recordings to help h them sound like their albums and to fill out their live sound.

A click track is the actual click that functions as a metronome in a musician’s in-ear mix. A cclick helps the musician stay in time, both with the band and any track he or she may be playing along with. You can use the built-in click from any standalone click track that can be sent to the front of house and then DAW, or a stand mix. back to your monitor m simply a recorded track that loops continuously. I think people A loop is simpl generalize a loop as being any track that is played along with a band. sometimes gen But typically a loop should refer to a percussive or melodic phrase that you can repeat over and over as you play a section of a song.

Doo yyou D ou eever ver hhear of worship team members having a challenge ttransitioning ransitioning to using a click track in their ears?

I teach about tthis at a worship conference, and I’ve heard this so often that now I just ask those who are currently running a click track with a worship team to the differences they’ve experienced in their team after they added speak about th the click. I can always count on the same story. Usually there is some initial resistance, but pretty soon everyone loves the benefits of playing in time, and they always want to use a click after that. Using a click track makes everyone play tighter, ighter, and the consistency definitely improves. You’ll be amazed at the feedback you Also, ou receive! Al so, pre-recorded vocal guide cues give the team count-ins, so transitions ransitions andd song entrances are smoother and easier to navigate.

Worship Sound Pro 101 Guides

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Take a look at the instruments we’ve highlighted in this guide, including Yamaha’s MOTIF XF8, the affordable Korg SP280, and the piano-like Kurzweil PC3K8. You’ll also want to check out the Hammond XK-3c.

Workstations: Workstations ations:: Powerful P Tools Tools for the Worship Leader

Choosing the Right

While streamlined, piano-like instruments are ideal for a number of worship leaders andSound church pianists, other houses of worship rely on keyboards Worship Pro 101many Guides for much more than just piano sounds. In fact, if you’re a piano-centric worship leader, you may very well be able to perform and produce your entire service with a single powerful instrument called a keyboard workstation.

More than just keyboards with hundreds, sometimes thousands, of instrument sounds, these instruments often feature multitrack sequencers, so you can layer all the different instrument parts into a full orchestration. It’s very similar to working with audio editing and production software, only you’re not tethered to a computer — and you can easily play these backing tracks right from your keyboard during services. And even if you do have a complete worship band, you can use a workstation to add a few choice backing instruments to fill out your sound — perhaps a second trumpet part, a string section, or even an extra kick drum sound for more power.

Keyboard

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Korg Krome-61 Powerful workstation with world-class sounds

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The Path to Great

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

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

If this sounds like you, you’ll want to select what’s called a stage piano — and ideally one with a full set of 88 weighted keys (also called weighted action). These keyboards actually mimic the response of a grand piano’s keybed, where the lowest keys require more force to strike, and the upper keys feel light and airy beneath your fingertips. To nail the sound of an acoustic piano, today’s top keyboard manufacturers have gone to great lengths to record some of the finest grand pianos in the world, putting these sounds right inside the instruments. Not only can you get the sound of a classic Steinway, but on many you can also push a single button to get the sound of a Bosendorfer, a Yamaha C7, or a character-filled upright.

If you’re replacing an acoustic piano, you should consider the importance of aesthetics to your church. If you have more-traditional services or are seeking a really natural look up on the platform, then you may want to choose a more authentic-looking stage piano. We have options available with wooden cabinets, in a variety of finishes, so you can choose an instrument that matches the decor of your church.

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

1. Action

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

2. Sounds

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

3. Arranging/Recording Capabilities

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

4. Size and Portability

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

5. Appearance

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

Call us today at (800) 222–4700

Kurzweil PC3K8 Amazing feel and piano sounds

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A Balance of Features for Modern Worship

If you don’t need the all-out power of a workstation, but you’d still like a Roland RD-64 handful of cutting-edge capabilities — maybe built-in drum patterns for Portability plus great rehearsals and a lighter sequencer for a quick songwriting sketch pad — there instruments and $ 00 are a number of options that fall somewhere in between the two categories playing As worship services and events become more diverse and tied intofeel today’s culture, it’s we’ve already mentioned. Instead of choosing an 88-key option, which has the More info on pg. 112 same number ofthat keys asthe a fullmusic piano, you can select a 76-key — or smaller — inevitable performances involved become increasingly contemporary. version. These instruments trade a slightly reduced range (many keyboardists It’s just ashighest common to see setups onand the platform as it is to see pianos, never use the and lowest keys full-band anyway) for lighter weight a more portable form factor.

You can still get fully weighted keys on a 76-key piano, organs, and choir ensembles. or you can choose a semi-weighted version that works well if you perform a Hammond XK-3c blend of classic and modern rather than strictlycan piano. benefit from using a DI box — especially if your setup One very attractive elementinstrument of modernsounds, worship music

999

Classic Hammond

involves outboard effects and other gear (with balanced performance is the guitar a very portable, versatile Increasing in popularity are — keyboards that feature a built-in microphone organ sounds inputs) instrument also happens be relatively affordable input.

These that are perfect for the to performing worship leader and great for in addition to your amplifier, or requires extremely longthe cable runs. Balancing the signal with a direct box (compared to thatservices. hulking The pipevocal organ).

Though worship scaled-down youth microphone goes right through helps performersoutput, have been using guitars as accompaniment for Better keyboard’s so you’ll need to amplify only one signal. yet, to keep the signal strong and helps to remove $ pesky00 electronic decades, the last few vocal yearseffects have seen boom in guitars there are professional builtain, so you can refine the vocal soundinterference. There are DI boxes available to suit More info on pg. 107 every budget. as standout instruments. youof effectively without having to purchaseBut anhow extrado piece gear. integrate the guitar into your gathering without turning the Don’t Forget Sounds Natural Sound, Even Plugged In proceedings into aAbout loud rockRealistic show? Read Organ on.

2895

X 61 Taking “direct” to anKorg entirely Kronos new level, some acoustic The organ is still a very popular instrument for worship services. And while Going Direct Great workstation, guitar-centric pedals and even onboard preamps $ include 00 most of the keyboards we carry feature a built-in organ sound, you can get loaded with free that extras very specialized EQ curves and effects give your Theorgan-playing dynamic, natural sound of acousticwith guitar is right— upby choosing that experience —an complete drawbars a More info on pg. 109 there with the pianofor when comes to accompanying solo dedicated instrument the ittask. artists or ensembles with one instrument. Until relatively Have more questions? Our Sales Engineers are here to help you choose the recently, though, playing your acoustic live meant remaining best keyboard for your church’s goals. In fact, what you see in Worship Sound stationary in front of a microphone and fighting feedback Pro is just a small sampling of the many keyboards we have available. Give us a from the sound system. The advent of onboard pickups call today at (800) 222–4700. freed acoustic players from this fate, allowing them to plug right into an amp or PA system and, in many cases, >> AVID Korg SP280 $ 00 $ 00 control the guitar’s volume and tone. One mostly unsung Outstanding playability, Eleven Rack More portability info on pg. 130 but very useful tool for amplifying an acoustic guitar is sounds, and More info on pg. 114 the DI, or direct box. In general plugged-in guitar a more natural sound. Fishman’s Aura terms, the purpose of a DI box is to line actually includes stompboxes matched to specific body convert the signal coming from your styles. Simply plug your favorite dreadnought or jumbo or instrument into a “balanced” signal classical into its corresponding pedal, and you get a very that’s compatible with the church’s good approximation of your guitar’s unplugged sound. Best sound system. Though many mixing of all, this “microphone-like” tone doesn’t come with the boards allow you to plug straight in, baggage of feedback! using a DI on the platform means the Though EQ curves and pre-programmed algorithms can signals coming from instruments and make a guitar sound great, today’s standalone modeling microphones are all consistent when and effects units allow you to coax an incredible array of they connect to the PA. Even if you’re sounds out of your acoustic or electric instrument. The an electric guitar or bass player, you number of effects that can be applied is simply staggering, and, believe it or not, as modeling technology has gotten >> BOSS $ 00 more advanced, it’s now easier to pack those effects into MO-2 More info on pg. 132 smaller and smaller effects units. One big advantage you

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Worship Sound Pro 101 Guides

Since a click is involved, I’d assume it’s important for the team to use in-ear monitors.

Yes. Using floor wedges at your church would be a barrier to running a click track or MultiTracks. There are many benefits to making the transition overall, which is why more churches every day are going with an in-ear setup. If you have a live drummer who has to turn up a floor monitor up loud enough to hear it over his drums, then everyone around him has to do the same. Suddenly, you have a

The Basics of

Building a Mix

get from m modeling effects (Line 6’s POD standalone units, Amp or PA? exam mp is the ability to get the sound of your favorite for example) Since the primary goal of amplifying an acoustic guitar guitar ar amp am while plugging straight into your church’s sound is to retain as much of the guitar’s natural character as system. em. This Th means you get total control over your stage possible, it’s important that your acoustic amplifier provide volume me and an tone — and you don’t have to lug that hefty It’sofbound to happen at some point: mix disaster.

Maybe church’s regular a verythe clean, transparent sound.

So whyyour not simply run your amplifier the platform. lifier on and off instrument directly into the sound system? While that’s a sound person calls in sick at the last minute. Maybe the new volunteer sound person perfectly fine solution for many worship leaders (especially Big g To Tone from a Small Package soloaperformers or smallor acoustic ensembles), thosefrom playing doesn’t know a volume slider from sliding door, a mixing board a mixing Sometimes, etime however, there’s no substitute for the sound acoustic guitar in full-band setups or on larger stages and response of an honest-to-goodness guitar amplifier.

The respo bowl. Whatever the circumstance,benefit something has to be donesound to save the service. from the control and focused they get from a be trick is being able to coax peak performance out of your dedicated acoustic amp. Many of amps include Without sound, the congregation won’tcombo be engaged orthese inspired by the music, amp without shaking the wallsdecent of your church and drowning with extensive EQ controls for fine-tuning your tone, as well as out your message.

As recording guitarists and studio m and the message may be completely lost. onboard filters that hold feedback at bay. Amps with built-in engineers nee can tell you, the secret to big tone, oddly enough, neers effects let you add even more body and depth to your lies in amp —creating especially you relysound on classic n using usin in a smallThough maythe notneed be perfect — forewarning the team that theif perfect mix for a service a theysystem sound.isPlus, eliminate for a complicated signal tube-powered units forart, thata rich, sustaining tone.

A small e-pow everything may not be ideal willThough go a long way toward true sound person with little or no mixing experience chain running through outboard effects pedals. single-speaker combo ampachieve is relatively toclarity transport e-spe easingpack the plenty processof for everyone. least they will know can still goodeasy sonic and and deliver the message acoustic combo amps sonic punch At from a small move, you immediate access to volume e, and its controls tostill expect! withgive pleasant and effective audio.

Here are some tips for largerwhat enclosure, rooms require sound reinforcement and tone adjustments.

Using lower power levels, or wattage saving the day with a quick, last-minute mix —from whether a PA system. That’s where your amp’s built-in direct means theworking amplifier’s and ns you n yo can “drive” you are thepower sound section booth yourself or have thecomes help in.4. Turn it on. output speaker, the of the amp’s dynamic response ker, getting ker g of benefits a volunteer. on the speakers or the amplifiers last; this prevents loud and full-sounding tone without blasting the congregation full-s -so Using YourTurn Amp’s Direct Output thumps and pops from coming through the system. and overpowering the rest ofityour worship team. If you need overp 1.

Keep simple.

Most dedicated acoustic guitar and bass amplifiers include more e than just one great sound from your amp, consider balanced direct outputs, giving the option of running Unfortunately, mix emergencies rarely occur when you have 5. Reset theyou mixing board. a multichannel amplifier (usually equipped with separate ultic ulticha your church’s PA system without sacrificing loads of sparesounds, time to as work solution — it your rig throughBegin controls distorted wellonasatone rolss for f clean and by pulling all the volume sliders (faders) down to the is control and sound you get onstage. Several electric guitar almost always happens minutes before controls reverb adjustments) or even that most recentthe of service rolss and a zero. (Usually these are found at the bottom of each (especially modeling amps) with direct-out capability supposed to start.

While your have racks amplification developments, the modeling amp.sound booth maycombos lificcat channel on the mixer.) Set the channel gain to a mid are now also available — some even include speaker emulation, of processors and sophisticated audio equipment, is position (Usually this knob is found at the top of each sending very realistic amp tones straight to the PA. Using not the time to You experiment with effects or to randomly How wM Many Amps Do Need? channel on the mixer.) Next, reset all the equalization (tone) your output doesn’t just let you “have your start turning knobs. Focus on the bare minimum youamp’s directcontrols on the mixer to their center position, which is Small ll mod modeling combo amps provide a two-fold solution for ampfor and play it too”; it also allows you to handle the sound need to get the job done. Leave the special effects essentially off.

Turn the auxiliary or monitor sends off. Make worship The first is versatility. Packed with multiple ship guitarists. g level that reaches your gathering. You can enjoy getting the another time. sure that mute or solo buttons are disengaged. (Usually amp sounds soun and effects, a modeling amp can literally take you sound you want on the platform, while your church’s sound these buttons are off in the up position.) Set the master from clean sounds to uplifting, sustaining lead m shimmering shim engineer can make a mix that’s ideal for the room. All these 2. Use what’s already there. volume fader to about 50%. toness in se seconds (and a footswitch is often included, so you great sound tools help to make playing guitar or bass in the soundyou system already set up, the cables and can make changes Hopefully, on the fly).your Secondly, don’tis have to give worship environment a more inspiring experience for you — run to andout theof monitors are tuned 6. Begin testing each sound source up portability and the low snake stage are volume to the get mixer, the most ortab and your listeners. to prevent feedback.

Plugto the mics into these amps are voiced provide verythe mixer or snake e amps; amp in fact,inmodeling through the mains. inversions their usual positions.

Try to useemulate, the same “old standby” consistent-sounding of the amplifiers they istent Have the main vocalist speak or sing into his or her mic. microphones andthe other gear you usually even — try coaxing same sustaining leaduse — again, now is n at low lo volumes Bring up the volume slider until you can hear the vocals in not the time experiment new gear! tones ampto stack that you with can get from es from a real 100-watt the main speakers. Turn up the auxiliary or monitor sends a preset ese set on o your modeling combo! Plugging into a small 3. you Have conversation the worship team. until the vocalist can hear himself or herself in the monitors. modeling callaup pretty much anywith tone you eling ing combo lets As you verify that each mic or source works, pull its volume need performance.

And the very d forr a worshipExplain to everyone that thecompact regular size sound person is not fader back down to zero. You can leave the aux (monitor) and lightt weight ofavailable such a combo makes it is a snap to get w and that help required to have the service go sends turned up so that the singers can hear themselves. To on and off of the platform let’s not forget nd of well. Thisquickly. meansAnd guitarists need to turn down, drummers prevent feedback, don’t run the stage monitors too loud. the bass player, as there plenty volume, of great-sounding, p need are to control and so on. Explain that the monitor highly modeling combo bass amps available ly portable por that can hold their own on any stage. h

Call us today at (800) 222–4700

There are other websites out there that offer audio files for accompaniment. How does MultiTracks.com do things differently?

Beyond the sheer size of our catalog, the quality of the original master recordings is amazing. There are also demos and quite a bit of free content on our site, which can help people get started. As does Sweetwater, we place a high value on supporting our customers, and we have a knowledgeable staff of engineers and trainers who can answer your questions and get you up and running right away.

bunch of monitors onstage that are louder than the sound system in the house, and the click track in those monitors would bleed into the house. Going with in-ears gives the mix control back to your sound person, and you have the added benefit of being able to mix in some individual MultiTracks with your live sound.

If I’m a worship leader and I want to make my team comfortable working with MultiTracks and click tracks, what would you recommend?

Great question. Though it’s not difficult, it does take time to transition your team.

The first time you learned to drive a stick shift, it was really awkward because you were used to doing it a different way — then it became familiar and you wondered how you ever did without it. We have people on our worship team who were reluctant to use a click track because they weren’t used to having it in their ears. Give it some time, and you won’t even really hear it anymore — you become used to it. Now, using MultiTracks is a different story in my opinion. It makes the mix in your in-ears and the front of house sound amazing!

Can you walk us through the options that MultiTracks.com offers?

We offer three core options: MultiTracks, LiteTracks, and Rehearsal Mixes. MultiTracks aren’t simply accompaniment tracks; they’re often the original stems from the original recordings. The cool thing about these tracks is that you can essentially have the entire recording up there — the exact same stems the artists use during performances — on the platform, ready for you to add your own parts.

You can also get LiteTracks, which are premixed stereo MP3 files from original sessions. On the left side of the stereo field is a click; on the right are synths, strings, pads, and sounds that enhance the worship band’s performance of the song.

You can put LiteTracks on your iPod or other player.

MultiTracks are actual stems of audio, often from original recordings.

Can you tell us how the MultiTracks are controlled by software or hardware? How much flexibility do you have with the arrangements?

The MultiTracks that you download from our website can be played in any DAW or music software that can play multiple audio files at one time. We have users of just about every software — Ableton, Studio One, Pro Tools, Digital Performer… the list goes on. If you’re just triggering the tracks to start and stop, and don’t need to jump around from section to section, then most DAWs will work great. We have lots of training videos on this concept on our MultiTracks blog.

Rehearsal Mixes let your team members hear the parts they’ll be playing louder in the mix, so it’ll be easier for them to learn what they should be playing. It’s an effective rehearsal tool that helps reduce practice time. Rehearsal Mixes are very affordable, and you can even buy credits in bulk to bring the price of each down even further.

Tell us about the resources and tutorials available at the MultiTracks.com website.

Our blog is full of training and tutorials specifically geared toward worship leaders, and you can sign up for more in-depth training and screen-sharing assistance as well. I would encourage people to take a couple of hours and dive into learning a software program. I think they’ll be blown away by how it benefits their live sound. We’re grateful that we’ve been able to help thousands of worship leaders make the transition, and we’re constantly hearing about the difference it makes for their church.

Thank you for talking with us! Anything else you’d like to add?

We have free demo content if you just register for an account with us online. Plus, there is a Free Content section with click tracks and loop tracks that you can download without an account. We’ve made it really easy to try this out with your team, and we’re always adding new songs to the catalog.

We’re definitely here to help any way we can.

Can you trigger these files via MIDI from, say, a keyboard controller or a MIDI foot controller?

Yes. Many musicians run MultiTracks from the stage this way. It helps if all your musicians are onstage so that you can cue everyone together. If a guitar player is leading worship and triggering the tracks, he or she might want to use a foot controller,, which is easyy to pprogram within most anyy DAW. Or yyou could assign g g the pads or knobs on your MIDI keyboard to fire off the tracks from your keyboard. way, you’re never touching the laptop laptop.

This way

StudioLive 32.4.2 A powerful hardware/ software mixing solution, the StudioLive mixer and Studio ether th to t let l t you run your One software work together MultiTracks operations and get great main and personal monitor mixes.. Plus, wireless integration th your iOS device! lets you take control with UM3X RC IIn-ear nn-ear monitors ar are ccritical to work working with MultiTracks. These M The iisolating is solating earph earphones allow eeach membe member of the team companimen and the live to hear the click, the accompaniment, instruments and vocals clearly.

A360 Thanks to convenient, full-featured ull-featured ppersonal mixers such as Aviom’s A360, each performer on cust in-ear the platform gets his or her own custom monitor mix. m The result? rres monitor More c dent andd consistent confid c confident pe erformaances! performances!

Phillip Ed Philli Edwards ards d The founder and CEO of MultiTracks.com, Phillip is a worship leader and a musician with professional touring g exper p ience. experience.

Since launching MultiTracks com in MultiTracks.com 2006, Phillip has been teaching and training at worship conferences around the country on the concept of running MultiTracks to achieve a professional sound in any size church.

NEW

FRE

ISSU

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E!

Can you address potential copyright issues with these stems/loops?

A download from MultiTracks includes a limited license for live performance at your house of worship. We cover the royalties for use of the master as well as for RSS SS V-MIXING publishing. Though you can perform the song as many times as you like at your YSTEM SYSTEM church, the license does not allow you to use the tracks for streaming over the Internet or for recording purposes.

Photo by Jon James and Troy Behrens

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

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

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

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

9. Turn up the volume faders for the vocals.

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

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

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

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

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

Set things up so that they are clean and clear, and at a comfortable, conservative volume level. Then stop! Once you get to the point where it sounds okay — this should happen fairly quickly — stop tweaking the knobs. It’s easy to lose perspective and get lost in knob turning, even though the goal has already been achieved.

14. Here’s a final tip.

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

11. It’s time for the equalizers.

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

12. Fine-tune the mix and the monitors.

Adjust volume levels so that instruments and vocals are balanced, and adjust the bass and the treble controls on channels channe nels as necessary to prevent boominess, harshness, or

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See the latest gear from this year’s Winter NAMM show! Sweetwater and MultiTracks show you the best new products to enhance your worship services.

Sweetwater.com/worship/namm-guide.php

FREE Expert Advice • FREE Tech Support • FREE Shipping • FREE REE 22-year W Warranty t

* Merchandise sales available with upgrade to Nimbi Plus account. ©2013 PreSonus Audio Electronics, Inc., all rights reserved. StudioLive, Capture and Nimbit are trademarks or registered trademarks of PreSonus Audio Electronics, Inc. Studio One is a registered trademark of PreSonus Software Ltd. Mac, iPad and iPhone are registered trademarks of Apple, Inc. If you’re reading this footnote, the Mayans were sorely misinterpreted.

Capture multi-track recording software comes free with StudioLive.

Record it.

Two mouse clicks in Capture™ records the whole service in stereo & multitrack.

Add a marker to locate the sermon.

Virtual soundcheck.

Before the praise band arrives, have levels and effects set by playing back the recording you made at rehearsal.

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Editor’s Corner

Day and Night... Both Went Right.

MAR/APR 2013

This year for the NAMM Show convention in Anaheim, CA they were expecting over 90,000 attendees to see 1,400 plus exhibit booths stuffed into 5 large halls full of new musical instruments. NAMM stands for the National Association of 8 Music Merchants, and it is mainly a convention for retailers all over the world to come and see everything under the sun in terms of musical gear. It is not open to the public, and to be there is really something special. This was my 34th year of 10 attending.

Features

Worship Musician! magazine was honored to be a partner again in the 4th Annual Night of Worship at NAMM. We had a large ballroom at the Hilton Hotel again and 1,000 people showed up! Brenton Brown and the Worship Republic did their usual stellar job of leading folks in worship. Then, to mix it up, we had the Norm Stockton Group lay down some really good jazz fusion (which showed off the high end sound delivered by the Yamaha Commercial Audio System’s PA). Joining Norm’s band was a special guest walk-on by the legendary Al Perkins (cover story for our Jan/Feb. issue of Christian Musician magazine) and our very own columnist for CM, Joe Riggio, nailed the electric guitar solo/counterpoint to the blistering lap steel playing of Al. Before breaking into the song Al spoke eloquently about how in the bible and life, we all face crossroads in our lives. Then he broke into the classic rock anthem of the song “Crossroads”. Wow – it was quite a moment and the crowd loved it!

Following that was the former front man for the Newsboys and prolific songwriter Peter Furler. Peter was in good form that night delivering his catchy pop rock songs and big worship tunes with passion. I have Continued on page 48

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

by The Adolph Agency, Inc.

Product Review

By Mitch Bohannon Behringer X32 From the Drummer’s Perspective

By Carl Albrecht Playing “8’s” For Drummers

12 Keyboard

By Ed Kerr That Reminds Me of Something 15 Bass

By Gary Lunn A Typical Day With a “Nashville” Number Chart: explained...

VOL. 11, ISSUE 2 40 Guitar Grab Bag

By Doug Doppler Theory and the Music We Play, Part II 42 The Band

By Tom Lane Priming the Pump Raising Up the Next Generation!

44 Camera

By Craig Kelly What One Piece of Gear has Saved the Day? 46 Product Review

By Bruce Adolph Yamaha THR 10 Guitar Amp

16 Vocals

By Sheri Gould When NOT to Teach

50 Percussion

By Mark Shelton Cajon & Djembe

18 What’s Your Point, Tom?

By Tom Kraeuter Is the Lord Really Present?

52 Worship Team Training

By Branon Dempsey Does the Band Look Like Your Worship Leading?

24 Songchart “Still Believe”

by Kim & Skyler Smith 26 Record Reviews

By Gerod Bass • The Hymns Collective Session 1 • Daniel Bashta • Sanctus Real • Kim Walker-Smith • North Point - Inside Out • Hillsong United

54 A Few Moments With...

Rich Kirkpatrick Top Five Reasons 2013 will be Tougher for Worship Leaders

34 FOH Engineer

By Bill Gibson To Compress or Not to Compress - That Is the Question 36 Ministry + Artistry = Profitability? Creating your MAP™

By Scott A. Shuford Is Social Media Relevant to Our Church Audience?

38 The Worship Community

By Doug Doppler Building Community by Setting Goals

Interview 20 Still Believing: Jesus Culture’s Kim Walker-Smith

by Aimee Herd Kim Walker-Smith photos by Skyler Smith Night of Worship at NAMM Photos

by Diana Rush

WORSHIPMUSICIANMAGAZINE.COM MAR/APR 2013

7

PRODUCT REVIEW

By Mitch Bohannon

Behringer X32 I have a friend who is a Worship Pastor at a large church that’s just a handful of miles from me... I’ve heard how they upgraded from one digital mixer to another and even bought two or three of the same $30k+ pieces of gear. I’m going to assume that most of you know someone in that situation or at least you’re reading about one now. It’s in those circumstances that God is able to see if we hold to the same contentment that Paul wrote about in Philippians 4:11-12. “…I have learned to be content whatever the circumstances. I know what it it to be in need, and I know what it is to have plenty.

I have learned the secret of being content in any and every situation…” Some of us have plenty (in terms of funds) and most of us make do with much less. I’m thankful for companies such as BEHRINGER, who strive to make quality products affordable to the “most of us.”

This board is very flexible to adapt to specific needs. For instance, each channel strip can be assigned to any input (i.e. channel 8 can be assigned to receive signal from input 1); every channel has 16 sends with assignable pre/post control; each channel can have it’s own effects routing… speaking of effects, there are eight stereo racks that can function as an insert as well as a side chain in certain instances.

The faders can function as Send control (Sends on Fader) to send signal to your MixBuss outputs as well as Graphic EQ control (GEQ on fader) for easier adjustment of any graphic equalizers that are patched within the X32. For those who have a variety of venue’s receiving the same audio (cry-room, outdoor speakers, broadcast, etc), there are assignable Matrix sends for those mixes.

P e r s o n a l Monitoring System which conveniently connects to the X32, or if a church has a current in-ear system, there are plenty of output options to get it connected. There is also an option to add a BEHRINGER S16 digital snake to the X32 or even to chain two X32’s together for a digital split. Both functions use the AES50 protocol which sends 96 channels, (48 in by 48 out), of audio over a single network cable. Chaining the X32 consoles together would be useful when running one for a FOH and one for a monitor desk or for broadcast.

They would both read the same input but have completely different assignable mixes and output.

The BEHRINGER X32 would also be a great option for churches/venues with multiple use platforms or rotating bands and sound engineers. With automated faders and plenty of memory to save mixes (100 scene slots available on the X32), routing, and assignments, there’s I received an X32 to review at my church no fear in losing detailed work. With recently and did a thorough run-through. I One of the user-friendly features I really was thoroughly impressed with the features liked is the ability to set delays on input a list price of $5999.99 and a street of this digital mixer. A product like this is and/or output by a logical standard. price much lower, it could be a much less so complex, it’s difficult to give you details For instance, the drum overhead mic painful jump from an analog board into that I know you can read on a spec-list on can be delayed by a value of five feet the world of digital.

Behringer.com… so, I’ll try to convey the (or whatever distance the mic is sitting BEHRINGER has recently welcomed impression I got from this board. Overall it above the drum kit), which can clean up House of Worship Support Specialist, is an excellent digital board for live sound any bounce or slap-back from the snare. Evan Hooton, to the MUSIC-group team or as a monitor desk.

Vocal mics, which can also pick up the who is able to assist with any questions A good place to start is the mic-pre’s. The snare, can have the same type of delay on BEHRINGER products that you are X32 has the MIDAS designed mic-pre’s control. Regarding output, the rear mains looking to implement into your House that are comparable in quality and sound can be delayed from the front mains… of Worship. You are able to reach him to the MIDAS boards in the $20k range! again, that value is set by the distance through the House of Worship General At first glance the board is well lit with from the platform. This is a fantastic Discussion section on BEHRINGER’s multi-colored buttons (some with assignable feature especially if you are going to set community forum area at forum.behringer. labels and icons), a large, easy-to-read up in temporary locations. Delays can be com. view screen and smooth sliders. A “VIEW” set quickly for clearer audio. button quickly displays parameters on the Mitch is one of BEHRINGER has also created their own the pioneers in the screen for real-time adjustments. personal monitoring system, POWERPLAY development of the cutcapo, an alternate tuning device used by many worship leaders today, including Chris Tomlin and Rick Cua. He is a worship pastor in Sulphur, LA, a regular contributor to Worship Musician and Christian Musician Magazine, and has been part of CMS since 2004. Mitch and his wife, Noelle, have been married for 20 years and have 3 awesome kids!

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MAR/APR 2013 WORSHIPMUSICIANMAGAZINE.COM

FROM THE DRUMMER’S PERSPECTIVE

By Carl Albrecht

Playing “8’s” For Drummers Recently we’ve been going through the most popular grooves used in modern worship.

We will get back to those soon, but I thought we would take a break from that for this issue to address something that always needs attention. GROOVING!... Or making the groove “feel great”… solid… steady… smooth or any word you want to use to describe this mysterious term. Actually, this exercise can be applied to the grooves we are discussing in these articles. It would help them to become anchored into your playing.

I know there are hundreds of articles, books, and opinions about this topic, but here’s my recent observation. - Nothing else matters if it doesn’t groove or feel good!

I just returned from a large music festival in Edmonton, Canada. (The Breakforth Canada Conference.) Besides playing for Paul Baloche at different meetings in various venues and teaching several drum clinics, I had the chance to watch other bands play.

At the concerts we played there were several moments when the guys looked at me and nodded with approval (I think they approved).

Even Ben Gowell, Paul’s guitar player, turned to me and smiled while we were playing.

I could see him mouth the words, “It feels great!” I nodded back, and mouthed, “Yea, it does!” Not that I was bragging; I was just enjoying the experience like he was. It WAS feeling great, and we were experiencing that musical happy place. In that moment I was thinking, “Why is it all coming together right now?”

Most musicians agree that the drummer keeping the time solid is the backbone to any band. But it is also true that all the players in a group affect the feel of a groove. Also, the sound in the venue, and a good monitor mix has a huge impact on the way music feels at any given time. I really think that when all of the elements come together that’s when musicians are the happiest. … And yet, the drums are at the foundation of it all.

In all of the great bands I heard that weekend the drummers all had great time and feel. No one was very fancy, or technically doing anything complicated. Most of the music at this festival was very singer/ song oriented. That is usually the case at a major worship event. I did take note of what our engineer, Travis Brockway, said at the Amy Grant concert that night. Greg Morrow was playing drums for Amy and he sounded fantastic. You can check out a few clips of Greg on YouTube just to get an idea of what

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I’m talking about. Travis just turned to me and said, “Greg just sounds SO relaxed!”

There it was… that word again. I’ve used that term so many times in clinics and always when teaching private students.

You have to stay loose and relaxed. NO tension! AND… I always remind myself of this when playing… Chill out… stay relaxed… breath!

There’s also a level of confidence you have to have as a musician. Not arrogance, but just being sure of who you are and what you can do. This only comes from years of study, practice, and “live” playing experience. A recent article in Modern Drummer Magazine is a must read. (The January 2013 issue.) They were interviewing Vinnie Colaiuta and he was sharing brilliantly about the big issues of being a confident musician in any situation.

His thoughts on doing your homework, combined with real playing experience gives us the big picture on becoming skillful at what we do. Yet, he was clear there has to be a place of just getting into the “flow of the moment” and not letting your thinking get in the way. It seems like a very mysterious musical process, but it’s so vital for a drummer to find that place for himself or herself: when all of it just feels second nature, and there is no straining to make it happen. This was the feeling I had when everyone was nodding and smiling.

I was in the flow of the music, everything was relaxed, and it just felt good! So how do we achieve this in our playing?

Well, let’s talk about the practice of “playing 8’s.” This is an exercise to make your groove feel second nature. I have written about this before, but now I think it’s becoming the best way to achieve a natural flow in your playing. All studying is important, and I believe on working on a variety of techniques. But this one routine seems to have a huge impact on every drummer I work with. Repetition is the key.

In my clinics over the weekend this exercise was the most challenging. Most students could play a variety of ideas and tricks, but most of them struggled to maintain a consistent, steady groove for a long period of time. This is a drummer’s top priority. It’s gotta’ groove!

Playing 8’s is simply playing eight bars or measures of the same kind of groove without changing the pattern. Be sure to do NO fills in the 4th bar; which is a very

common thing to do. That does happen musically in many songs, but for the sake of making your groove feel second nature do not play a fill until bar number eight.

You must also use a metronome or drum loop device to keep your time rock solid.

Play for four to five minutes for one groove concept, because most songs are normally that long. Also, be sure to count out loud at first… 1 234 2 234 3 234 4 234 5 234 6 234 7 234 8 FILL. Count with the subdivision of the pattern too… 1 & 2 & 3 & 4 & - and so on. You can choose from four groove families.

1. 8th note grooves - which are counted 1 & 2 & 3 & 4 &.

2. 16th note grooves – counting 1e&ah 2e&ah 3e&ah 4e&ah. Slower versions you can lead with one hand, but as it goes faster use two hands.

3. Triplet grooves – count 1 trip let 2 trip let, etc. OR 1 la lee 2 la lee 3 la lee 4 la lee. Again, slower tempos can be played with a single hand lead. As you get faster use two hands.

4. The shuffle or swing feel – This is a triplet pattern minus the middle note. 1 trip let 2 trip let… but the “trip” is silent. Or think 123 123 123 123 etc. but the 2 is silent.

These are the basic four groove families that all patterns and styles seem to build upon. Be sure to mix things up. Don’t just play one type of groove. You can do variations of any kind after every eight bars, as if you were creating a song, but maintain the same count and feel of the groove. *Here’s the link to a Greg Morrow YouTube clip where he’s playing this very idea for an 8th note groove.* - http://www.youtube.com/ watch?v=lFdrgEah5gU I know you could see that in my several of my teaching DVDs, but I’m tipping my hat to Greg for this article. He’s actually playing to a song, but you only hear him drumming. It’s a great demonstration of the real life application of doing this type of practice.

This one exercise really seems to help drummers find the “flow” of these grooves.

They start to become second nature because you have to repeat so much, and pay attention to the nuances of your playing. Focus on precision and feel. Don’t try to be flashy or complicated. Think “meat and potatoes” for this groove building routine. Sure, you can try other patterns, as you get more comfortable. I don’t mind students trying to learn new ideas and improve coordination and independence.

All of that is important too. But remember Continued on page 48

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SOUND LEGACY

KEYBOARD

By Ed Kerr

That Reminds Me of Something Ever done one of those plans where you read through the Bible in a year?

Do you read the Proverb of the Day? Regardless of what your approach is to getting Scripture into your heart and your head, you’ve probably had moments like me when you’re reading part of the Bible and you remember another verse you’ve read or memorized that supports it. A few days ago I was reading Isaiah 40:28: Do you not know? Have you not heard?

The Lord is the everlasting God. That reminded me of Isaiah 50:7: Because the Sovereign Lord helps me, I will not be disgraced. Therefore have I set my face like flint, and I know I will not be put to shame. These verses combined to remind me to hold on tightly to what I know to be true of God. Sovereign. Everlasting. My Helper. I know this.

songs we sing can reinforce each other chords twice. Then begin playing the as well. Here’s an example. actual chords from “One Thing Remains”.

Lots of you probably have your radar up for new songs from popular worship artists that might work well for your church. Something off of Chris Tomlin’s new project, that 3rd song from All Sons & Daughters, the Paul Baloche tune with banjo. Lately I’ve found myself stirred and encouraged by “Whom Shall I Fear” from Tomlin’s Burning Lights release. It’s written

by Chris Tomlin, Ed Cash and Scott Cash.

Statement after statement of confidence in God’s Presence and Protection and Power rise as we sing this as a church.

When teaching the song the first couple of times, I added a section of another very familiar song to give the church a chance to take off their “we’re learning a new song and have to really focus” caps Ever find yourself singing a favorite and sing something well known. So, after worship song when another song comes singing “Whom Shall I Fear” in its entirety, to mind? Just as many Scriptures can shine we added the Chorus from “One Thing light on the truth of another verse, the Remains”. It says “Your love never fails, it never gives up, it never runs out on me”.

If you can’t imagine only doing part of a song, flip the page and stop reading this.

If you’re willing, though, to experiment a little, the result can be really powerful.

In my example using “Whom Shall I Fear”, keep playing the intro figure after completing the song. We played the song in G, so the intro was 2 bars of G then two bars of C. After a couple of repetitions of that progression we began singing “Your love never fails...”. We sang it over the intro chord progression though, not the original progression used in “One Thing Remains”. Like this: G Your love never fails, it never gives up G It never runs out on me C Your love never fails, it never gives up C It never runs out on me Try this yourself. Play the intro a few times. Sing the lyric over the G C intro

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Em C Your love never fails, it never gives up G D It never runs out on me (Repeat) Let your dynamics build into the moment when you use that Em C G D progression. I know you’ll feel the musical momentum.

Sing that lyric with its usual chords a few time. Then cue the band and head back to a final chorus of “Whom Shall I Fear”. Suddenly the lyric you’ve just sung together about God’s love never failing or giving up or running out gives a new layer of meaning to the Tomlin/Cash lyric. “I know Who goes before me; I know Who stands behind.” Certainly the song doesn’t need any help in being a meaningful expression of faith. Certainly each verse of Scripture we read has weight of its own. But finding verses that illuminate each other can encourage us as Children of God, and weaving bits of worship songs together can invigorate our worship of God and our insight into His great love and power.

I’ll end with a couple more examples, since I’ve felt the impact of this in my church so strongly. Besides using the chorus of “One Thing Remains” as an added statement to “Whom Shall I Fear”, the chorus of Matt Redman’s “You Never Let Go” works powerfully, too. In another song, the bridge of “Glory To God” (Fee/Beecham) pairs powerfully with the chorus of Gungor’s “Beautiful Things”. Visit my website, kerrtunes.com, to find charts of these examples and other suggestions for such pairings.

As a songwriter Ed has written over 100 songs with Integrity Music. He has a Masters Degree in piano performance. Ed and his family live in Washington State. Ed plays Yamaha’s Motif XS8. www.kerrtunes.com

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BASS

By Gary Lunn

A Typical Day With a “Nashville” Number Chart: explained...

I thought it might be of some use to see how I typically maneuver through a chart. Here is a very well known worship song that I played during a session recently. I will point out the things written on the chart and try to explain their purposes. I hope this helps you in overcoming any hesitation toward chart reading and notation that you might have.

At the upper left corner is where the song’s key(s) information usually goes.

I wrote the word “top” in for me to remember that I play at the beginning of the song. I discussed with the producer which octave to play in at the beginning (he wanted me to play in the low octave).

In the interlude I asked the band if we could play the third in the bass for both “1” chords in that line, so I wrote them in. I like hearing the third in the bass during that section.

Also, the chart writer notated the rhythm figure that the band plays together during the second half of the interlude.

The “DC” (Da Capo Italian for “from the head”) marking at the end of the first chorus is what tells me to go back to the beginning of the song at the end of the first chorus.

The dynamic markings at the end of the last chorus indicate that we suddenly get soft in volume and quickly build into the last bridge. That dynamic action is called a “Sforzando.”

The dots that are marked every four bars indicate phrase changes in the music. This helps with “feeling” your way through a song.

The chart writer forgot to write the unison bridge rhythm in for the last line, so I wrote myself a reminder.

Also, the rhythm figure written at the end of the song indicates the ending of the song for everyone.

My small rhythmic notations under the chords help me to remember what kick drum patterns the drummer and I had decided to play together when playing through the chart the second time (on the D.C.).

Notice that I wrote “1/4’s”by the “BIG” section before the bridge, then moving on up to 1/8 notes for the bridge (you can see where I marked out the first half of the bridge from the way it was on demo that we heard).

After that, there is a #2 pencil and a pretty decent pair of highly recommended, Monster earbuds.

Gary is a session player/producer/writer in Nashville, currently playing for Lindell Cooley, MMI, home recording, and many recording session accounts, attending Grace Church in Franklin, TN. Contact him for sessions or overdubs on Facebook or Twitter.

A lot of these “road map” indicators are quite handy to be familiar with. They will help you to be better prepared to play a song, no matter what setting you might be playing in. Be blessed!!

www.facebook.com/garylunn www.gracechurchnashville.org www.twitter.com/garylunnbass WORSHIPMUSICIANMAGAZINE.COM MAR/APR 2013

15

VOCALS

By Sheri Gould

apply simple breath support techniques.

Therefore, in spite of all the things you might think you know about singing— without this one under your belt, you could seriously hurt yourself vocally and mini “Mozarts” in the group…well… then train others to do the same thing. they likely wouldn’t have come to me in the first place! But I would have had the If you do understand breath support good sense to pass them onto a more and are confident you are applying it, then the next step is understanding appropriate teacher immediately. relaxation. Without understanding how However, when it comes to teaching to relax (and especially the entire throat/ voice, I feel a bit differently. If someone neck area) you can still get caught up in wanted to follow the pattern I did—have straining, which also can contribute to a foundational knowledge of voice at vocal damage. With these two things the college level and continual training under your belt personally you may be in I would be less nervous. But most folks a position to begin to help others. But, in the trenches are not in that position at because you understand it and can apply all. Most of them are getting tips from yourself it still does not guarantee that YouTube, or they’ve listened to some CD’s you’ll recognize these important aspects they ordered from one of the myriad of in another. Before you consider teaching vocal coaches offering their wares on the others, here are some questions to ask internet. Maybe they were in high school yourself: Do I recognize vocal strain? choir, or took a few voice lessons at one Do I know where the source of the strain time. Although they might be the first to is? Do I know how to stop it and reroute recognize their lack of training, they often the energy to be used more effectively? feel confident to pass on what they have Am I aware of current vocal styles that learned. Is there any harm in this? are harmful and yet very popular? Do I When it comes to singing, all you need know of alternatives? Do I understand to do is get slightly off the right path and vocal registers? Do I know how to help it can have disastrous effects vocally. someone mend a vocal “break”? (And When I was teaching guitar and piano, countless more could come up, but this is if I had not been a good teacher and a good start.) taught improper technique, the worst that I believe strongly that we currently have may have happened at that level would a significant case of the “blind leading be that the students would not be able the blind” in our contemporary vocal to play as effectively as they might have world: thus helping to produce the had they gotten proper (or better) training. inordinate amount of vocal damage we They might not have progressed as quickly are seeing. My heart is broken over this as they could have, or learned things in and I want to see it stopped. I am doing the best order. But they would not have my best to help…one student at a time. suffered physical damage over the long There are hundreds of “vocal tips” being haul because of MY lack of knowledge. handed out freely. Do you know how to However, with vocal training, the wrong sift through the good ones from the bad training can lead a person down a path one? I have no problem with people that can cause serious vocal issues, passing on information that they receive including permanent damage. from a qualified vocal instructor—such as The most important thing to understand sharing the information you get in these with regard to singing is breath support. If articles every other month. But, before a singer understands breath support and you go and hang out your shingle, please is correctly employing it then he or she get some real training. has a proper foundation to build upon.

Although the process of proper breath Sheri Gould is an support is simple enough to understand, internationally acclaimed vocal it’s quite another thing to actually do it coach. With a degree from effectively when you’re singing. Without the University of Ill, she has this foundational understanding and been coaching since 1979 and leading worship since 1985. For weekly ability to apply it, one can very easily slip vocal tips, check out Sheri’s FB page at into bad habits that can cause damage www.facebook.com/officialsherigould. For down the road. Most singers—and I mean information on products, including instructional MOST singers, do NOT understand and DVDs, check out http://sherigould.com

When NOT to Teach Occasionally I will get inquiries from vocal students around the country about teaching.

These “students” are wondering whether or not they should start teaching vocals themselves. “Why not?” They reason. Surely I have more knowledge than the general public or even the folks on my worship teams or in my choirs. So, is it a good idea to pass on the knowledge you have gleaned over the years to others even if you’ve never had specific training in vocal technique at a college or university level? My answer may surprise you…

I am not a fan of slightly trained vocalists trying to pass themselves off as vocal coaches, and likely not for the reasons you might think. I am not offended, challenged, threatened, or intimidated by these often genuinely concerned folks. For the most part they are not looking to “steal my job”, make a quick buck, or misrepresent themselves.

Most of the people I know who are in this position just genuinely want to help others.

They figure, “I’m ahead of these folks so I ought to be able to share what I know and help them along.”. I wish this was as simple and uncomplicated as it sounds.

Many years ago I took on piano students and guitar students as well as vocalists. I was trained (at the college level) and certified to do so. However, I knew then that there was a vast difference between ME teaching piano and someone who had chosen to make piano their life’s pursuit. I also have a degree in Education as well so I understand the teaching process and was able to be an adequate teacher at a beginner level. Before I began teaching however, I researched curricula and interviewed other (better qualified) teachers to get some direction. I also continued to study piano on my own with a very capable piano instructor who helped to insure that I understood proper technique so that I would not lead anyone astray. This was especially important to me because I was primarily working with children.

I do believe that I was decent piano teacher for these kids. Was I amazing?

No. But I was able to give them a good start and pass them on. I believe that I had a pretty good understanding of what I did and didn’t know because of my continued training. I don’t believe I harmed anyone in the process and had there been any

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WHAT’S YOUR POINT, TOM?

by Tom Kraeuter

Is the Lord Really Present?

A colleague of mine told me he recently visited a church on Sunday morning.

He said that during their twelve and a half minutes of “worship” many people went to the back to eat donuts and drink coffee. I couldn’t help but be appalled.

My reaction was immediate. What sort of leadership would allow—or, perhaps, even encourage—such a thing to occur?

What does condoning such behavior say about our beliefs? They call this worship?

I don’t think so!

Some dear friends of our family are youth ministers at their church. They welcome anyone into their youth services. Because there is a wide variety of young people who attend, during these gatherings, the leadership teaches everything, from basic Bible stories to what worship is. Many of the teens participate in worship near the front of the room, but others choose to stay in their seats. In the past, those in their seats would often sit and talk with one another, and not just in a whisper, either. My friends finally realized that by allowing this to happen, they were tolerating, as they put it, “an ungodly level of disrespect.” I think my friends got that one exactly right.

One of the distinctive characteristics of Christianity is that God is with us. Of course, we know that God is everywhere. The theological term is that He is omnipresent. Yet, the Lord has promised to always be with us and never to leave us (Deuteronomy 31:6, 8; Psalm 118:6-7). He dwells with His people.

You won’t find a promise like that from Allah in the Qur’an. Only the God of the Judeo-Christian heritage has made such an audacious promise.

In the New Testament, though, Jesus took that concept to an entirely new level.

He promised that “where two or three are gathered in my name, there am I among them” (Matthew 18:20). Something

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special happens when we gather in His name. The risen Christ comes into our midst. Exactly what that means and how it happens, I can’t answer. Honestly, no one on Earth can with any degree of accuracy. It’s part of the mystery of God. All we know is that He’s there. Jesus didn’t give us the details, but we know He is trustworthy. So if He promised that He would be in our midst when we gather in His Name, then, truthfully, He is there. His presence is just as real as when Isaiah saw the Lord “high and lifted up” (Isaiah 6:1). Of course, we likely cannot actually see Him, but He’s there just the same.

He is every bit as real as we gather to worship Him. And whether we “feel it” or not is a moot point. Just like any other aspect of what we believe, it must be taken by faith. He promised, so we trust Him. He’s there.

Well, let’s look at it this way. Could any of us honestly imagine that in the midst of the worship dramas depicted in say, the Book of Revelation, there could be a group of people off on the side eating donuts and drinking coffee, watching the scene unfold? Could there be a group of people in the background of the scene sharing the latest gossip? Isn’t the very idea ludicrous? So, why, then, would we allow—and, in some cases, even encourage—such things here and now?

Tolerating such behavior sends a very wrong message to the participants. “It’s okay to take God lightly.“ It isn’t.

The twelfth chapter of Hebrews tells us, “Let us offer to God acceptable worship, with reverence and awe, for our God is a consuming fire” (Hebrews 12:28-29).

That statement seems to imply that without reverence and awe, worship is not I’ve been told that the President of the acceptable. That’s a sobering thought.

United States has two Boeing 747s at I’m not sure many people in our society his disposal. Both have a private office today truly practice—or, perhaps, even for the Commander-in-Chief. Both have understand—reverence. If the Lord is truly special guidance systems beyond the in our midst, then a flippant attitude seems norm. Both are identical aircraft. Neither, grossly out of place, doesn’t it? though, is technically Air Force One. In light of all this, perhaps we should They’re both just known by their individual reexamine our worship practices with an call signs... until the President steps on eye toward the fact that the Lord really is board. Then, everything changes. Oh, present. nothing on the outside looks any different.

The physical characteristics of that jet are still the same. But that aircraft suddenly This article is excerpted becomes Air Force One. Why? Because from Tom Kraeuter’s of the presence of the President. upcoming book, Worship In like manner, when we gather in Jesus’ In Heaven... and Why On Earth It Matters. Tom Name, everything changes. It is no longer teaches about worship at churches across business as usual. The risen Christ is there North America. For more information in our midst. All the rules are altered. about his books, his teaching, or his The ordinary becomes extraordinary; the Worship Seminars, contact natural becomes supernatural. Of course Training Resources, 65 Shepherd’s it does, because Jesus is there in a way Way, Hillsboro, MO 63050, 636-789that somehow transcends everyday life.

4522, staff@training-resources.org, or www.WorshipSeminar.com So, what’s your point, Tom?

KIM W

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STILL

BELIEVING

JESUS CULTURE’S

WALKER-SMITH

by Aimee Herd

If you’re tied in with worship music in some way—either belonging to or leading a worship team, or just enjoying listening to the plethora of choices we have these days of music that glorifies God in a way that helps to bring you into His Presence—chances are you’ve heard of Jesus Culture.

Sports fans have adopted the word “nation,” tagging it onto the name of their favorite team to denote that those who are a part of “such-and-such nation” are centered around that team, and everything they do stems from the love of it.

In the same way, a youth group from Bethel Church in Redding, CA, led by Banning Liebscher has renewed a call to pursue the Lord with strong passion, bringing every aspect of their lives under the heading of Jesus; calling it “Jesus Culture,” after the conference that seemed to spark the fire back in 1999.

A description on the Jesus Culture website explains, “It soon became very clear to us that worship was to be a significant part of our movement. Kim Walker-Smith, Chris Quilala, and Melissa How were worship leaders at our local youth group, and the Lord began to use them to bring an entire generation into whole-hearted worship.

“Shortly after God commissioned us to mobilize this new breed of revivalists, we began taking Jesus Culture conferences to different regions, and currently hold them in

Redding, Orange County, Dallas/ Ft Worth, Chicago, Atlanta, and multiple cities through Australia and England. Also, in response to our mandate, Jesus Culture Music and Campus Awakening have been inspired and birthed out of Jesus Culture.”

writing songs since I was a very little girl.

I started singing onstage when I was 3 years old and made up songs all the time as a child.

AH: It’s been about 5 years since you’ve done a solo project—does your new album “Still Believe” contain songs you wrote during that span of time, or are Similar to the movement of they all recently written, which ones if so?

Vineyard Churches in the 80’s KWS: Yes, the songs that I wrote for and 90’s, and Passion worship “Still Believe” were all written during the throughout the early 2000’s; one span of that 5 years. I was taking my of the fruits coming from Jesus time, allowing God to develop a message Culture is their live worship in me. I didn’t want to write just a good recordings. When it comes to song, but I wanted the song to carry a whole-hearted worship, the message that burns in my heart. strong, ardent vocals of Kim Walker-Smith certainly come AH: Can you pick out a few of the to mind.

Walker-Smith and songs on “Still Believe” that have really the whole Jesus Culture team impacted you, either in the writing or the are very involved in the many recording process, or that really mean a conferences and worship tours lot to you as you lead them in worship, offered through the ministry, but and talk about them? recently, Kim released her live, KWS: My favorite song on the album solo recording, “Still Believe.” is the title track “Still Believe.” This song She was gracious enough to carries the message of the entire album spare some time for an interview perfectly. I believe, no matter what, that via email...

God heals. Even when I can’t see it, I will still believe. I also love the song “The King is Here.” So often in worship times, it is Aimee Herd: When and how did easier to forget that God is right there in you become involved with Jesus Culture the moment with us. We are not singing Music and this movement? to some far away god, but Jesus is alive Kim Walker-Smith: I have been inside of us! As we worship, He is right a part of Jesus Culture for 13 years. there with us.

I worked with Banning Liebscher in AH: What is the songwriting process the youth group at our church, as the like for you, how do you go about it? Do Social Events Director. I planned all you write with an instrument (besides your the parties and fun trips! Eventually I voice)? began leading worship and am today KWS: The songwriting process starts a senior leader within Jesus Culture. usually with a moment of inspiration. I AH: Had you led worship, and start writing with my voice and then I written songs prior to leading with Jesus move to the piano and plunk out some Culture? chords on there. Then I take what I have KWS: I had led worship a little bit to my husband (or the rest of the band) before Jesus Culture. I have been and they help me add and correct other

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Kim Walker-Smith: by Aimee Herd

continued

who are the other members of the KWS: My favorite moments are when Jesus Culture Band? teenage girls come up to me to tell me KWS: The other members of the what Jesus has done in their lives. band are: Skyler Smith (my husband Through tears, they tell me how He set and acoustic guitarist), Jeffrey Kunde them free, healed them, told them He (electric/lead guitar), Josh Fisher loves them. I take it as a huge honor (drums), Ian McIntosh (keys), and to be able to influence young peoples’ Brandon Aaronson (bass).

Chris lives and want to be the best role model Quilala will not be joining us as his I can be.

chords. Usually something will pop out of my mouth in worship spontaneously, which will give me inspiration for a song, or sometimes I have a specific idea in mind that I want to write about.

Either way, I don’t rush it. If it’s slow, it’s slow, if its fast, it’s fast. I just take it as it comes.

wife will be delivering their second baby at that time! Derek Johnson, a new Jesus Culture artist, will be touring and opening up each night.

We will also have a small strings section and a percussionist, as well as 2 background vocalists.

KWS: Banning is family. Sometimes he is like a brother….he teases me and makes me laugh. Other times he is like a father….he challenges me and AH: Jesus Culture has been to confronts me when its time to grow. He Australia and other places outside of says we are “lifers.” It means that no matter what we do in life, our families want to run together for life.

AH: Why do you think Jesus Culture is making such an impact among young Believers today?

AH: On a practical note, what challenges have you encountered in leading worship without any additional instrument other than your voice, and how have you overcome those challenges? Do you have any advice to aspiring worship leaders who don’t play an instrument when leading?

KWS: It is very challenging to lead worship without an instrument other than your voice. I recommend that you (the singer) learn to speak the same language as the rest of the band first. You may not be able to play an instrument, but you can learn to communicate the way they do. It’s important to earn their trust. For them to trust you and know what you are talking about as a leader; you need to be able to speak in a way that makes sense to them. Understand their instruments and their roles within the band, as well as your own. I also recommend finding a way to lead the band live, whether it’s with hand signals or vocal cues, they need to know where you are going.

AH: You’ll be touring the “Still Believe” project in cities up and down the West Coast. What is your hope and the vision for this tour?

KWS: My hope is that people will encounter Jesus, receive healing in any capacity if they need it, and walk out a different person.

AH: Who will you be touring with, and

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AH: Banning Liebscher is the director of Jesus Culture—what’s it like working with him?

KWS: When it comes down to it, the only thing we really have to offer is Jesus. And that is what young (and old) are hungry for. This generation has seen a lot of divorce, abuse, pain and fear. They are not dumb and they know when something is real or not. If you are trying to give them something, and they look at you and see you clearly don’t have it yourself; they don’t want it. But, to be the example, to give them Jesus, to love them and not judge them, to be real….that is what they are hungry for.

America. How are you/they received To learn more about Kim in those places. Where has been the Walker-Smith and Jesus Culture, most receptive out of all places you’ve log onto: www.jesusculture.com led worship, and in what way?

KWS: We are always very well received in foreign countries. I’m not sure if there is one place that is more receptive than another, but we really loved being in South Africa. Young and old came out to worship Jesus with us and they really took on the message of the ministry of Jesus Culture; not just music, but the ministry.

AH: In the time you’ve been leading worship with Jesus Culture, can you pick a couple of experiences that have been kind of extra special and/or extraordinary to you...talk about them.

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Still Believe

By: Kim and Skyler Smith Kim and Skyler Smith 2010 Publishing: Jesus Culture Music Em D C Your blood makes the deaf to hear right now Em D C Your blood takes away the curse right now Em D C Your blood heals every disease right now Em D C Your blood sets the addict free right now

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Am C

And I still believe

G

You’re the same yesterday

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Today and forever

Am C

And I still believe

G D

Your blood is sufficient for me Em D C Your blood mends the broken heart right now

Em D C Your blood compels me to forgive right now Em D C Your blood transforms my mind right now Em D C Your blood brings the dead to life right now Bridge:

C You’re the Higher Power D Darkness cannot stand C No longer bound to sin D (Am when going back to chorus) I am free

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RECORD REVIEWS The Hymns Collective Session 1 1. Love Lifted Me (Jesus Saves) 2. Love, You Never Let Me Go 3. O How I Love Jesus (There Is A Name) 4. Depth Of Mercy 5. According To Thy Gracious Word 6. More About Jesus 7. Holy, Holy, Holy (The Sound Of Glory) 8. This I Know (There Is A Fountain) 9. All To Jesus (I Surrender) 10. Breathe On Me Breath Of God 11. Bleeding Savior 12. Man Of Sorrows Whenever one turns on a local (or national) Christian radio station, we are invariably inundated with rock guitars, intense drums, and over-produced worship tracks that are recorded in key signatures 3 steps too high for the average person to sing. We live in a loud worship world, and although I love most high-energy worship groups and the songs they offer, sometimes I just need some time for personal reflection and spiritual renewal in my music. Then I come across a wonderful musical gift like The Hymns Collective Session 1 and I turn on my iPod, sit back and let God do His thing.

I would guess that most people probably won’t recognize some of the names of the performers of these songs. There is no Chris Tomlin, Christy Nockles, David Crowder, or Phil Wickham here; in fact, this reviewer had to look up most of the names involved with this project just to get an idea of who he was listening to. (BTW this is a good thing).

Newcomer Katelyn Clampett’s soulful version of “Love Lifted Me” sets up the album nicely with acoustic guitar arpeggios dancing under her soaring and sincere vocal. The chorus is slightly altered from the original song, but is one that will stick in your head long after you are done listening.

Chris Wenigar gives a noteable performance in his smooth, stripped down version of “Oh How I Love Jesus”. The acoustic guitar work here is outstanding as we are introduced to a new melody and updated chorus of this well

By Gerod Bass loved hymn. The subtle banjo plucking and violin in the background gives this arrangement a bit of edginess that really makes it stand out, while Abby Eaton’s take on “Man of Sorrows” is gorgeously reflective with accentuated piano and soothing violins. This arrangement would be perfect for personal worship or could be used in your congregation’s Good Friday service.

This is a laid-back, acoustic and piano driven worship album full of some of the best known hymns of our generation sung by some newcomers, mostly from the Integrity label. The Hymns Collective Session 1 is a rare gem that will subtly draw you into God’s presence and remind you that the hymns we all grew up with are still relevant and should be treated with respect and admiration.

Daniel Bashta The Invisible 1. I Want It All (Just Give Me Jesus) 2. Praise The Invisible 3. Deliver Us 4. Let Hope In 5. Undone 6. Great Is The Lord 7. Suddenly 8. In The Ruins 9. By My Side 10. Behold The Lamb Some of the best songs of praise and worship are written during difficult times when God seems to be far off and the struggles of life are upon us. It is during one of these difficult times of struggle that Riverstone Worship Pastor, Daniel Bashta wrote the now famous worship anthem, “God’s Not Dead (Like A Lion)” that has been recorded by such super groups as Newsboys, David Crowder Band, Kristian Stanfill and others, and continues to circle the globe in church services, on radio and in concert halls everywhere.

Bashta’s sophomore album, The Invisible, follows his 2011 debut, The Sounds of

*Gerod’s Personal Picks in bold.

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

The Hymns Collective Session 1 Daniel Bashta The Invisible Sanctus Real Run Kim Walker-Smith Still Believe North Point - Inside Out No One Higher Hillsong United Zion highest marks

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Daniel Bashta, which put him on the map as an up-and-coming force for Christ in the world of Christian worship music.

The album launches with a profound and desperate plea with the opening track, “I Want it All (Just Give Me Jesus)”. This song is raw, emotive worship, the likes of which this reviewer has rarely heard as Bashta sings “Give me the real thing, not just religion/ stir up my passion with more of conviction/ I want it all, not just a portion/ give me your presence, not just some feeling /…I’m just looking for the real Jesus.” This song really is a foretaste of the lyrical feast that follows and sets up the theme of the album nicely.

The title track, “Praise the Invisible,” continues the clear theme of desperation for God and serves as the album’s most straightforward praise and worship song, while “Deliver Us” takes a step back volume-wise letting a string quartet take the lead. Here, Daniel’s unique vocal style takes center stage as we are reminded that God is our great deliverer no matter what circumstance life gives us. The much more acoustic “Undone” gives the orchestra a rest and prominently features a banjo alongside the more traditional guitar and piano, but it still retains its big sound during the chorus thanks to the thumping percussion.

“Into the Ruins” is the albums darkest song and speaks about how God will still heal and be present even when “…the walls of earth fall and the church bells cease to ring”.

Although I personally would not consider this particular track a congregational worship song, it fits well within the album’s thematic framework and gives hope to those who may be living in times of hopelessness.

It is clear that Daniel Bashta is more than just a worship leader; he is a musical artist who is stretching the boundaries of normalcy in the world of worship. Many of his songs were born out of difficult life circumstance and as I listened, I noticed a sincerity in his vocal style that I have not heard before. These are not your typical, made-for-radio worship offerings, they are bold, imaginative songs of praise that will engage people’s hearts and challenge their faith.

I appreciate the artistry of Bashta’s music, but I think for most average worship teams, these songs will be difficult to emulate.

This album has an almost theatrical feel to it, which for personal listening is a great thing, but for congregational worship could be a tough nut to crack. Either way, I was very impressed with Daniel’s sincerity and musical prowess and I can’t wait to hear what he does next. more reviews on page 30

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RECORD REVIEWS Sanctus Real Run 1. Run 2. On Our Own 3. Promises 4. Pray 5. We Will Never Give Up 6. Nothing Between 7. Commitment 8. Keep Me Young 9. One of Those Things 10. Better Than This 11. Picture of Grace 12. You Are God DELUXE EDITION BONUS TRACKS: 13. That’s Life 14. Love You 15. One More Show 16. Sanctuary Since 1996, Sanctus Real has been touching people’s lives with their honest, lyrical approach to praise and worship.

They are one of only a handful of artists that can take the everyday “stuff” of life and weave it seamlessly into memorable songs that connect people to the heart of Christ. Known for such classics as “Lead Me”, “Promises” and “Forgiven”, their latest release definitely has more of a pop feel than their previous albums. Run features 12 (16 on the deluxe edition) new tracks with a very poignant theme that encourages trust and complete surrender to God in everything we do.

Some of the standout tracks include the title track “Run” which begins with a U2-esque guitar hook and a very catchy chorus that offers a wonderful assurance of where we stand with Christ in our life journey; ‘… don’t lose heart when you feel alone and the road looks long, and you don’t know if you have the strength to make it home, you’re not on your own…’

“Promises” is a high energy worship anthem that draws Biblical inspiration from Romans 8 as we are reminded that God’s Word will never fail and that in all things, He is in control. “On Our Own” and “We Will Never Give Up” are nice mid-tempo songs about spiritual determination because of what Christ has done, and “Better Than This” is a joyful, bouncy rock offering that describes what life is like when the love of Jesus finally takes over our lives.

One of the things I really appreciate about Sanctus Real is that they are not afraid to write about sensitive issues like marriage, family, or even politics; and because they write these songs from the singers perspective, they don’t come off as judgmental while still getting their point across. A great example of this idea is the song “Commitment” where lead singer Matt Hamitt brings us into the struggles of marriage that many couples deal with by using his own marriage as the

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song’s backdrop. Here we hear about how the believer’s idea of commitment should be different that the world’s because of Christ’s ultimate commitment to us. It is a song full of transparency and honesty and is my favorite on the album.

Overall, there are some great moments on this collection that could definitely be used in both personal devotions and congregational worship. Musically, it isn’t a very diverse offering with most songs kind of having the same feel, but what makes this album special is the same thing that has kept Sanctus Real on the forefront of Christian music for all these years, honest, poetic, and compelling lyrics that are relevant and Biblically based. Although some long-time Sanctus Real fans may be a bit disappointed with their move to a more pop style, their place in history was never made by consistently sounding one way. It was always about what they had to say and that has never changed. The message of hope in God’s love has never been clearer, or presented in a more accessible way than on this album. Great job!

Kim Walker-Smith Still Believe 1. Alive 2. Waste it All 3. The King is Here 4. Yield My Heart 5. Spirit Break Out 6. Spirit Break Out (Spontaneous) 7. Still Believe 8. Miracle Maker 9. Healing Oil One of the lead singers of internationally renowned worship movement, Jesus Culture, Kim Walker-Smith’s 2nd solo album Still Believe was recorded during a night of live worship at the Cascade Theater in Redding, CA. This highly anticipated 2nd release features a myriad of Jesus Culture favorites alongside some new original worship songs that when woven together, create a truly intimate and authentic worship experience.

The album begins with “Alive”, a song that is tailor-made for upcoming Easter services. The song begins with a stirring piano and builds throughout as the band joins Kim’s inspiring vocal as she cries out and proclaims that Jesus is alive, and ‘…we will make Him known, Jesus is alive, He’s alive, we will shout it out, Jesus is alive, He’s alive…’. This song is an upbeat and passionate declaration to Jesus, and is a brilliant opener.

One thing that often separates WalkerSmith with other worship leaders is her ability to allow the Holy Spirit to guide the direction of worship services and in the process, allow amazing times of dwelling and personal, spiritual reflection. Nowhere is this more evident than on track 5, “Spirit

Break Out” which leads into a spontaneous, follow-up track that is almost 6 minutes in length. Together, these 2 tracks give the listener a sense of what worship is like during a Jesus Culture conference. WalkerSmith’s vocal spontaneity is unmatched and I imagine that many hearts were laid bare before the throne of God as this section was recorded. As I listened, I only wished I could have been there in person to experience what the Holy Spirit was doing in that room.

Though lasting for almost 10 minutes, “The King Is Here”, speaks about the impending return of Jesus, yet also about how God is here with us, and how He will answer us whenever we seek Him. “Still Believe” is the only self-penned offering on the album but stands out as the best track as Kim goes straight to the blood of Christ while professing her simple trust in God. I really appreciated the lyrical idea she brings forth of how the blood of Christ is sufficient to cover any and all earthly pain where we are both now and for eternity.

This collection also features some covers of previously released worship songs such as Delirious’ “Miracle Maker”, which is just as powerful and inspiring as the original, and “Waste It All” in which Kim worships in total abandon amidst the electric guitars, piano arpeggios, and passionate drum kicks.

At first listen, some will probably feel that many of these songs are too drawn out, but I think this album is meant to give listeners a genuine feel of what worship at Jesus Culture feels and sounds like. If you are not a fan of repetition or spontaneous spiritled worship, Still Believe may not be for you. Like all of Jesus Culture records, Still Believe is inhibited in it’s backing, youthful in its approach, simple in its language, and passionate in its delivery. However, I hope that in future releases from Kim Walker-Smith we are treated to a few more tracks of original worship songs, as this album felt a little light as far as content and originality.

North Point - Inside Out No One Higher 1. Intro 2. Can’t Stop Singing (Seth Condrey) 3. Bless Your Name (Eddie Kirkland) 4. God is With Us (Chris Cauley) 5. My Next Breath (Eddie Kirkland) 6. No One Higher (Seth Condrey) 7. Furious (Seth Condrey, Heath Balltzfglier) 8. Our Great God (Heath Balltzfglier) 9. Always (Chris Cauley) 10. Arms Open Wide (Seth Condrey) 11. Forever Reign (Seth Condrey) North Point Live, from North Point Community church in Atlanta, Georgia,

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RECORD REVIEWS

is one of a growing number of worship movements whose main focus is to ignite the hearts of young people through relevant and God-honoring worship music. Their latest release No One Higher, is a conglomerate live worship album filled with passionate covers of some of today’s best loved worship songs, such as “Forever Reign”, “Furious”, and the Hawk Nelson-penned “My Next Breath”, as well as some new original works that are sure to have an impact in churches around the world.

Led by North Point worship leaders, Seth Condrey, Eddie Kirkland, Heath Balltzfglier, and ‘The Voice’ season 2 contestant, Chris Cauley, this latest musical offering is bound to rouse up the worshiping spirit in listeners, and is a must-have if you are a fan of worship movement music such as Planetshakers, Hillsong, or Jesus Culture.

North Point does a wonderful job on all of the cover tunes contained on this album with “Forever Reign” and “My Next Breath” being the two that stand out the most.

Holding mostly to the original One Sonic Society version, “Forever Reign” is sung with a stirring passion amidst the electronics and reverb, and is given a welcomed rendition by worship leader Seth Condrey. Eddie Kirkland’s version of “My Next Breath” is a bit more refined and personal than the Hawk Nelson version and is probably the best written song. Kirkland’s sincere vocal, mixed with the raw lyrical emotion of this vertical worship song make it my personal favorite on the album.

The title track, “No One Higher” is one of a handful of new originals on the album giving the listener a nice piano-led track about the wonderful grace and majesty of our God. Although the lyrics are a bit cliché driven, the hook melody is so good that it is forgivable. Another original standout is Eddie Kirkland’s “Bless Your Name”, a rousing jump-out-of-your-seat, guitar-driven anthem that will have you singing at the top of your lungs and lifting your hands in praise.

With a great balance between new songs and other artist’s songs, North Point have always led with authority and passion and this album is no different. Most of the songs here can be adapted to fit your team’s style and ability, and although there is nothing earth shattering in the way of originality contained within this collection, No One Higher is definitely worth more than just a casual listen.

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Hillsong United Zion 1. Relentless 2. Up In Arms 3. Scandal Of Grace 4. Oceans (Where Feet May Fail) 5. Stay and Wait 6. Mercy Mercy 7. Love Is War 8. Nothing Like Your Love 9. Zion (Interlude) 10. Heartbeats 11. A Million Suns 12. Tapestry 13. King Of Heaven DELUXE BONUS TRACKS: 14. Arise 15. Mountain 16. Mercy Mercy 17. Oceans (Where Feet May Fail) 18. Stay And Wait Every year we are treated to at least two or three albums of powerful worship released by the groups from Hillsong church in Australia. It can be argued that Hillsong is personally responsible for setting many of the current trends of the modern worship era. Recently Hillsong United (formerly called United Live) has made some major shifts in not only their personnel, but also their musical style in an attempt to remove the tag of “rowdier little brother” that has followed them since they grew out of the youth ministry at Hillsong. After 11 full length albums (including two studio collections), their latest release, Zion, is ready to stake its claim that Hillsong United now stands on its own two feet and it is not just a mere stepchild of the church.

One thing you will notice from the first ethereal chord on the first track is that this album has much more depth and insight both musically and lyrically from their previous releases. The opening track, “Relentless” is a modern dance synth ride that explores and proclaims the never-ending love and grace of Jesus. This track makes a creative musical statement right from the get go; “This isn’t your average United album” and it is a message that is certainly welcome.

One of my favorite tracks on this collection is “Oceans (Where Feet May Fail)” led by United new comer Taya Smith. Beginning with a haunting orchestra, this song is about the intimacy of relationship that God wants with every one of His children and is one we should hunger for every day. Playing out like a dramatic movie, Taya’s gorgeous

soprano vocals help direct the listener through the swells and valleys of this musical journey into a veritable explosion of the Grace of Christ that comes at the end of the song.

The best written song on the album is the Matt Crocker led, “Scandal of Grace” which is an incredible exposition of the theology of the cross set to music and Jad Gillies, who arguably has the biggest and strongest voice, gives a rousing take of the Coldplay-esque ballad “Love is War”, which is a brilliant piece that sets our struggle to fight to trust God against the backdrop of His grace.

“Tapestry” calls to mind “Awakening” from their previous studio album. It is a slow burner exalting God’s intricately woven plans for our lives and “King of Heaven” wraps up the album appropriately by giving the listener a simple, contrite praise song that starts quietly but then ends in classic Hillsong climactic style.

Overall, this is a beautifully written album full of musical creativity and lyrical depth. By the end, I was almost wishing for something simpler, something more…..United, with big guitars and warm pads, loud drums and a cliché-driven chorus, but alas, United stays true to their new sound the whole way through. Some of the tracks are too over produced for their own good and typical church worship teams will have an almost impossible time trying to come up with all the sounds to make these songs a reality in their services. That being said, this is one of the best albums I have ever reviewed.

Hillsong United has grown up and it looks like God has amazing things in store for them!

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

Since 2009, he has been living his dream, serving as the Minister of Worship and Music at Our Savior Lutheran Church in Tacoma.

Gerod is a singer, guitarist, songwriter, and recording artist who has a passion for taking Biblical truths and implanting them on the hearts of God’s people through music.

FOH ENGINEER

By Bill Gibson

To Compress or Not to Compress - That Is the Question Some engineers use a lot of compression and limiting; other engineers don’t use any.

In commercial popular music, the use (and overuse) of dynamic processors is common, especially in the recording world. Because commercial recordings use compressors on many of the mix ingredients and because the mastering process often overuses peak limiters, some use of compressors and limiters is almost necessary in order to achieve a polished sound.

An important difference between a recording mix and a live mix is, in a live mix feedback can be a real problem. If the live sound operator uses the same amount of compression as the recording engineer, feedback would be extreme even in the best and most finely tuned sound system. A basic understanding of the compression process reveals why that process can accentuate feedback problems, especially if the compression parameters are extreme or unskillfully adjusted.

A compressor is an automatic volume control that turns the level down when it sees a lot of signal. How much it turns down and the complexities of that process are explained in this article, but for now it’s enough to simply grasp that the level decreases in response to ample incoming signal. When the vocal gets louder, the processor turns the signal down. That’s all just fine so long as the vocalist is vocalizing; however, once the singer stops singing and the band stops playing the processor turns the channel back up to it’s normal level. If the compressor had been turning the vocal channel down by 20 dB or so, once the music stops, it is just like someone turned the vocal fader up 20 dB as the compressor releases control of the level and, “Holy mama! You gotcherself a whole heck of a lot o’ feedback goin’ on!”

Two things will help your live compression in the church environment succeed: 1.) Have a great system with ample gain before feedback. 2.)

Use conservative compression with a maximum gain reduction of around 6 dB and lots of times where the gain reduction meter doesn’t register any compression.

Compression Parameters There are five controls common to most compressors: threshold, attack time, release time, ratio, and output level. Once you see how these work, you can operate any compressor, anywhere, anytime. To make it even better, these controls are easy to understand, and they do just what they say they do. At the core of a compressor is a voltage-controlled amplifier (VCA). A VCA senses incoming voltage and responds according to the parameter settings.

Compressors, limiters, gates, expanders, and

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duckers all use a VCA for level control, but they all just respond to the amount of signal differently. For a further explanation of how all of the dynamics processors work, refer to The Ultimate Church Sound Operator’s Handbook: Second Edition.

Threshold As amplitude increases, voltage increases.

The threshold is the point where the compressor begins to recognize the signal amplitude. Once the compressor recognizes the signal—when the amplitude rises above a certain voltage—it begins to act in a way that is determined by the attack time, release time, and ratio controls.

There are two different ways that compressors deal with the threshold: • One way boosts the signal up into the threshold. Picture yourself in a room with an opening in the ceiling directly overhead. You represent the signal, with your head being the loudest sounds. The opening represents the threshold of the compressor. Imagine that the floor moves up, and you begin to go through the opening. That’s the way that some compressors move the signal into the threshold—they turn it up until it goes through the threshold.

• The other way compressors adjust the threshold is by moving it down into the signal.

Picture yourself in a room with an opening directly overhead. Now the ceiling moves down until you’re through the opening.

This is the other way the threshold control works—the signal level stays the same, but the threshold moves down into the peaks.

No matter which way the threshold works, it’s the part of the signal that exceeds the threshold that’s processed. Once the signal is through the threshold, the VCA turns down just the part of the signal that’s gone through, leaving the rest of the signal unaffected. The portion that’s above the threshold will be turned down according to how you have set the remaining controls (attack time, release time, and ratio).

Attack Time The attack time controls the amount of time it takes the compressor to turn the signal down, once it has passed the threshold. If the attack time is too fast, the compressor will turn down the transients. This can cause an instrument to lose life and clarity. On a vocal, for instance, if the attack time is too fast, all of the “t” and “s” sounds will start to disappear. On the other hand, if the attack time is too slow and the vocal is very compressed, the T’s and S’s will fly through uncompressed and sound

exaggerated.

Variations in the attack time setting help diminish or accentuate the relative attack of instruments such as guitar, bass, piano, or drums. Long attack times adjust average levels; short attack times adjust peak levels.

Specific attack time limitations vary between processors, though they typically range from 0.1 ms to 200 ms. One characteristic of an expensive compressor is fast attack time capability. Also, some compressors have the attack time fixed for a specific purpose, such as vocals.

Release Time Release time is the time that it takes for the compressor to let go, or turn the signal back up, once it’s below the threshold. The release time might be as fast as 50 ms or as slow five seconds.

Fast release times work well with fast attack times to control peak levels. Slow release times work well with slow attack times to control average levels. There is no practical value to adjusting the attack time so it’s slower than the release time.

Long release times with severe compression can result in increased sustain. With the proper setting of the threshold, release, and attack time, a guitar, for example, can benefit by increased sustain. Over time, as the VCA turns the signal back up to its original level, an otherwise quickly decaying signal maintains its sustain longer.

For a natural and unobtrusive sound, set the attack time relatively fast and the release time relatively slow. Each instrument or voice is different, so there’s still importance placed on listening while you adjust these controls.

Ratio Once the compressor starts acting on the signal, the ratio control determines how extreme the VCA action will be. The ratio is simply a comparison between the level that goes through the threshold and the output of the VCA; it’s expressed as a mathematical ratio (10:1, 3:1, and so on). The first number in the ratio indicates how many dB of input increase will result in 1 dB of output increase. The higher the ratio, the greater the compression of the signal that surpasses the threshold.

If the threshold is adjusted so that the loudest note of the song exceeds the threshold by 3 dB, and the ratio is 3:1, the 3-dB peak is reduced to a 1-dB peak—the gain is reduced by 2 dB. Using that same 3:1 ratio, if you input a 12-dB peak, the unit would output a 4-dB peak—still a ratio of 3:1, and gain is reduced by 8 dB. Output/Makeup Gain The output level control—sometimes called “Makeup Gain”—makes up for reduction in gain caused by the VCA. If the gain has been reduced by 6 dB, for example, the output level control is used to boost the signal back up to its original level.

Continued on page 48

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MINISTRY + ARTISTRY = PROFITABILITY? CREATING YOUR MAP™

By Scott A. Shuford

Is Social Media Relevant to Our Church Audience?

We were recently at a meeting with 3540 senior church leaders and were asked some questions by a couple of attendees regarding the relevance of social media to their members. “Is social media relevant to our audience? What about our age audience?”

company doesn’t engage in social • All organizations that want to stay media because your market is the afloat in today’s new world need to “50+, non-tech guy or gal”, then there not only jump in the “raging river” of two major flaws to that strategy, 1) technology, but to navigate it, and many of those in that market are now let the water work for them, instead the “50+, social media-using guy/ of struggling and….drowning. Not gal”, and 2) that audience is already only do you need to be involved in this shrinking every day.

Relevant?

Check! technology, but you can’t afford to do it When we do presentations on Social poorly. Poor swimmers face just about Media around the country, we still find • Social Networks now have so many as much peril as non-swimmers. people who don’t understand the business active members that your absence from or organizational value of social media these online communities leaves you Social media marketing was a flash involvement. As social networks become disconnected and irrelevant to your flood that only recently hit us all, and many even more ingrained into the fabric of members and your community. Think churches and non-profits are struggling to society and culture, nearly every faith-based of the social media sites as some of the get on board. It’s just another example of ministry can find relevancy in maintaining largest, countries in the world. If your survival of the fittest. an active social media presence. organization doesn’t plant an embassy The churches and ministries that survive in each of those countries, you don’t are the ones that navigate technology Each social network appeals to a specific even enter into the choice set for your successfully. group of people, which will help you to target audiences. You are out of touch decide which social networks are most If you are involved with a company with the current events and trends in relevant to you and should be leveraged by or ministry that is struggling to find your those countries. your church. “water-legs” or have questions about For example, LinkedIn, the BIGGEST global • If that isn’t enough motivation, you navigating the river of social media, better believe that other churches and please contact me. We are ready, business leader connection, is the “business parachurch organizations which are willing, and able to be your social media meeting” or “chamber of commerce” of competing for your target audiences’ lifeboat. FrontGate Media has been a social networks, if you will. Twitter is the attention are already using every leader in Social Media since 2007… news feed of the current era, and Facebook means possible. Relevant? Check! is the cool hang-out for friends, where public Sample Social Media Post from Pastor image and branding reign supreme.

Kenny Luck.

Here are a few more of my thoughts to answer the question of social media relevancy:

• Age no longer matters. Social media has grown far beyond the cool youth culture thing it started out to be. To bring this closer to home, my aunts, uncles, and grandparents use social media, which means if you are a organization marketing to an older demographic, there is a social media audience of potential attendees, customers, or donors. That puts usage into the 80+ year old age group. If your

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See Scott as part of the Creator Leadership Network teaching team at this year’s Christian Musician Summits. He has led classes for us at NAMM as well as teaching on marketing to the Christian Leadership Alliance. Featured in Adweek, Scott is the President of FrontGate Media, the #1 culture-engaged media group reaching the Christian audience (www.FrontGateMedia. com) and the largest in reach to Church musicians.

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THE WORSHIP COMMUNITY

By Doug Doppler

Building Community by Setting Goals One of the things that I love about the modern Church is that we are on a serious mission to expand God’s Kingdom through the ever-increasing use of best practices. Part of the success of Willow Creek’s Global Leadership summit is that they have been purposeful in seeking out the minds and ideas from both the Kingdom and the secular. I consider this to be a brilliant idea that has the added benefit of creating a bridge to influencers who have never experienced the blessing of a relationship with the Living God. This is a great opportunity that has not been missed to get these brilliant minds into God’s house looking out, versus the press’ frequently distorted view looking in. These are VERY exciting times.

Casting vision and following up with action is something the Church is doing with increasing efficiency. A key component of this is our ability to set goals and measure our ability to reach them. For whatever reason, worship ministries seem to be among the slowest to adopt this practice. Although there is a ton of great worship music happening each Sunday, my experience points to a tendency to set goals on a weekly basis that are primarily focused around getting a team rostered, picking the songs, and having a great service. If we’re not purpose-driven, the weekly nature of what we do can become a distraction in terms of setting and achieving bigger goals for our teams. I encourage you to prayerfully talk about this with your team and see where you are at, where you’re headed, and how you’ll know when you’ve gotten there. Let’s take a look at some practical places and approaches to doing this.

you to prayerfully consider how you could best approach your Worship Pastor with your thoughts and ideas. The first place you can start is by following the wishes of your Worship Pastor. Many problems people have with their Worship Pastor are rooted in not having fully stepped into the revelation that authority comes from God alone. Emotion makes it easy to confuse our desire to make things better vs. our need to serve the God-ordained leader placed above us.

Raising Up Disciples Whether you’re a paid leader or weekend volunteer, you are just as called to make disciples. Regardless of the size of your Church, the first action after prayer that I suggest team leaders take is to start identifying and raising-up “your twelve”. If you’re a volunteer I encourage you to sit down with your Worship Pastor to seek out their thoughts on how you could serve their vision for building disciples from within the framework of the Worship Community. I also encourage you to share this article with them, doing so with a respect for their authority by demonstrating your heart to support their vision—leave your personal agendas at home.

Goals

the idea of offering free guitar lessons to anyone attending services in Student Ministries. The first Sunday of each month, any and all who come are able to get some free lesson time. I’m investing my gifts into raising-up young musicians.

In the process I’m also afforded the opportunity to demonstrate what the discipleship model looks like­ —with the added benefit of being able to identify and encourage the next generation of worship musicians at our Church.

Assessment After being released to hold these lessons, the long-term benefits come from measuring what is and is not working.

I like to start with the successes, as that tends to reinforce the why of what one is doing. One of the kids attending the lessons has not missed a single session, and is particularly high on my radar. He’s already serving on the Worship Team in Student Ministries and has a ton of talent.

He’s excited about having someone take an active interest in helping develop the talent God has placed in him, and I’m excited to see well-planned vision turning into measurable action. On the down side, I’m not always available on the first Sunday of each month and need to find a sub to cover for me. It’s not until we actually look at the down side of things that we can fix them in a way that is both efficient and effective.

Whether you’re a leader, volunteer, or both, set some goals that you’d like to accomplish in the next twelve months.

Break those down into bite sized threemonth pieces, and set up some action Conclusion steps you’ll need in order to accomplish I trust that you find something in this them. At the end of each quarter revisit article that will ignite a fire within you to these goals to see how close you came to serve your leaders, community, and build achieving them, with an eye to see what disciples to further God’s Kingdom. you learned along the way. The more you Prayer engage this process the more you’ll see Worship Pastors, I encourage you to how God is discipling you through it.

Doug Doppler is prayerfully search your heart to see if you Action passionate about God, are spending most of your energy leading and worship worship versus leading your team. If, like Six months ago I went to Scott Haus, worship, musicians. In addition to his myself, you are a volunteer, I encourage the Worship Pastor at my Church, with work coaching individuals and teams, Doug is also the author of “The Worship Guitar Book” which will be available in April 2013 via Hal Leonard.

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GUITAR GRAB BAG

By Doug Doppler

Theory and the Music We Play, Part II In the last column we addressed the connection between the white keys on the piano, modes, and triad/chords that are at the heart of most every chord we play on the worship platform. In this installment we will be covering some tools for learning and teaching others on your team how to deal with transposing songs quickly and efficiently.

Most of the songs we play are based around the “I chord”, which in practical terms means that much of the time we are in “guy keys” like G Major (10,000 Reasons) and “girl keys” like E Major (Here I am to Worship, Hosanna).

chords, the I chord becomes obvious.

Here are some examples… (editors note: The dash symbol “-“ immediately following a chord denotes “minor”. E - is translated as Em, or Eminor.)

Progression 1: Key of G There are few tips that I use to determine what key a song is in that you might find ||: G | E - | C | D :|| is functioning as quite helpful. More often than not, the first ||: I | vi- | IV | V :|| Figure 1.1 below comes from my chord of the song or the chorus is the root Progression 2: Key of C forthcoming title “The Worship Guitar Book” and will be “functioning as the I”. and is effectively a slide rule for transposing Another trick that will almost always work ||: F | G | A- | C :|| is functioning as songs into any key. Row one uses roman in determining what the I chord is comes ||: IV | V | vi- | I :|| numerals to represent each of the seven from the fact that the IV and V chords are Again, the key to easily figuring out tones of the Major scale. Row two reminds the only two Major chords a whole step what the I is often comes from identifying us that the Major mode starts off of the first apart. Since most worship songs are in the IV and V chords. note of the Major scale, Dorian off of the some Major key and almost always use Now that we’ve gotten comfortable with second, and so on. Row three tells us the the a I, IV, and V chords at least once, identifying the I, IV, and V, lets talk about type of triad that is created by taking the “1, it becomes easy to spot the I chord by how to use the “Mother of All Charts” 3, and 5” of each mode. Each successive looking for that whole step relationship to transpose Progression 1 from above. row gives you the notes for each of the between the two Major chords found Since the chords are functioning as the twelve possible keys. To utilize this chart you at the IV and V. That is to say, if there I, vi-, IV, and V respectively, you simply simply combine information from various are three Major chords in a song, they grab the appropriate notes for each key. rows. Let’s talk about some tips on how to are almost always the I, IV, and V in one Progression 1: Key of C do that. common key (hymns excepted), which Figure 1.1 “The Mother of All Charts” means if you can identify the IV and V ||: C | A- | F | G :|| Progression 1: Key of D ||: D | B- | G | A :|| Progression 1: Key of E ||: E | C#- | A | B :|| Again, since the IV and V chords are so easy to spot, you can almost always identify the I chord with ease for the vast majority of the songs we play, which in combination with the “Mother of All Charts” will make transposing songs a snap. Look forward to seeing you next issue – God Bless:)

Doug Doppler is passionate about God, worship, and worship musicians. In addition to his work coaching individuals and teams, Doug is also the author of “The Worship Guitar Book” which will be available in April 2013 via Hal Leonard.

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THE BAND

By Tom Lane

Priming the Pump

The majority of young leaders and talents I know have a strong desire to serve the church, but no idea how to do it. Many of the opportunities they do find come with a load of expectations and impossible prerequisites. In general, there are not a lot of opportunities for them, so we need to create them and maybe even help them plant somewhere. It requires more than returns. We should also know that there just asking them to come participate in are young people with extraordinary our programs and do things the way we talents and abilities who understand that like them done. the Kingdom of God is coming on earth and want desperately to be a part of it. Some thoughts: They seek life, friendship, truth, mentors, • We have to be willing to give them and hope. Gods plan is to use them, and some freedom, responsibility, ownership, He will as He always has! We can help and input, etc. Not meaning we don’t still them succeed by priming the pump— mentor, guide, and lead them—that’s a making investments in them now to ensure given with discipleship and training. that the future Church will have strong and • They need their own fields to plow, able leaders. They won’t just appear one and room to run and make mistakes; just day and step into the roles that we’ve as we all need grace and freedom in created around and for ourselves. We order to develop and grow. We don’t have to raise them up! become the people we are meant to Recently I spoke with a young and very be if we are stifled, criticized, hindered, gifted friend about his future. He loves God discouraged, and told no at every turn. and sincerely wants to pursue His plan for • Let’s say yes more often to some him with regard to his music and life. In of their ideas and vision. While it may many ways he is an ideal worship leader be uncomfortable, it will most likely be candidate for any church looking grow more effective in reaching the younger and become more relevant. But honestly, generation they relate with and to.

I’d have to be very careful suggesting him Especially with regard to their music and to one, because I already know that most creative expression, whether it’s what churches wouldn’t understand how best to we like or not, it’s part of their culture employ him. They might easily hire him and voice. If we’re not careful, we can based on age, looks, qualifications, and snuff out their zeal and passion with our talents—only to find out down the road criticism. that he won’t be forced into their box or • If we don’t love and embrace them as tradition, and both would be miserable in the end. I would also hate for him to they are, then we only love and embrace spend his life and ministry trying to fit them if they are who we want them to be, where he can’t. He is called to reach and that’s not God’s way! his generation and won’t be able to do For some churches it’s very difficult that by being who someone else expects to blend new and old culture, but him to be. He’d also rather starve as an this generations leaders need the last artist/worship leader and have freedom, generations leaders to help them mature. than compromise his calling and dream There’s nothing worth more than someone to fit some system just earn a paycheck. we look up to fanning our flame and

Raising Up the Next Generation!

Something my wife and I learned years ago regarding tithing that has helped us a lot is the principal of priming the pump; you have to get it started before the water can flow. Though we don’t see and understand the future, especially during the hard times, give and it will be given unto you is what the word says, and we’ve found it to be 100% true in our own lives. We can’t out give God, and if we genuinely want to walk in His promises, we have to exercise our faith a little to see them begin being fulfilled. The more we’ve tested God in it, the more we’ve seen His blessing.

The church I serve is a good example of one transitioning to become the most effective it can be for our own community, city, nation, and world. It has already lived a profound history and experienced amazing things, but none-the-less finds itself in a different time and season than its former glory years. We have the faithful older generation that have led the way and poured into many, a fire that has fueled movements in music, churches, missions, outreach, youth, etc. But we also recognize that some of what we did years back is not nearly as relative today, so unless we adapt and change we could become irrelevant. Its not a new dilemma, just life!

From the Word we know that God is passionate about lost and hurting people.

He is still preparing His Bride (The Church) to be a people that carry and reflect His heart in order to reach the lost with the good news of the gospel before He

HELPING INDIE ARTISTS BRING IT producer, songwriter, musician :: MATT KEES

encouraging our success. Yet it can be difficult when it’s time to stand side by side with them if both don’t learn to value and trust the other.

~ Dedicated to making music that glorifies our creative God ~

www.mattkees.com

“Matt Kees is a very musical songwriter, producer, mixer and a very good friend of mine. I love hearing his work as he is one of the best in the business. I always look forward to working and making great music with Matt.” ~ Gregg Bissonette (LA session drummer and member of Ringo Starr and his All Starr Band)

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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

One secret of success in life is for a man to be ready for his opportunity when it comes ~ Benjamin Disraeli Those of you who have read my rantings over the past year have no doubt seen that I mine the subject material from the LinkedIn group I started a few years ago called TV Camera Operators. With over 3,000 members from so many countries, I lost count of where they all live. What is great about this resource is the sheer amount of eclectic answers received to questions posed there – intended for new or volunteer camera operators as they forge their way forward in their new vocation – even if it is in a volunteer situation. Maybe even more if it is in a volunteer situation. It seems that many people like to share their personal experiences, stories, and trade tips.

With this article, I am taking a new look at a question that I posed months ago asking, “What is in your camera bag?” I know as a DP, there are a few items that you feel like you have to have with you on every shoot. Greg N. From Phoenix, AZ posed this question for the group a while back reprised as, “What is the single piece of backup gear that has ‘Saved the Day’ for you?” We have had so many great answers from many group members; I thought I’d share them here.

Peter K • The spare tripod plate I keep in my emergencies kit in the glove box.

Glenn N • A spare card for whatever camera you use.

Stephen C • Clothes pegs.

Olivia P • My leatherman penknife.

Armir • A couple coins: a dime and a penny to be exact. I was on a Steadicam shoot, but the screws I was using to hook up the camera to the rig were too long, and I needed spacers. I had some change in the car and ended up using coins as spacers. It’s difficult to explain without visual aid how I used them without drilling holes through them, but if anyone has ever used a Sony EX1 on a Steadicam Flyer, and then you might know what I’m talking about.

Jim N • The biggest and best inverter you can afford. No power, no pictures.

Eric A • Duct Tape is good for everything, until you have to remove it from something.

Get yourself some Gaffers Tape, it’s worth it.

Stephen C • Velcro ties for (audio) cables prevents them getting covered in sticky grunge. Freezer bag ties for keeping lapel

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Photo courtesy David Bialik

mikes tidy. Insulation tape usually better than Gaffers tape as it’s easier to remove and less damaging. Tie wraps (or zipties) provided I have some side cutters or knife to remove them. Yellow Gaffers tape usually reserved for taping cables down on floors. Wig tape (toupee tape) for hiding lavs, or now more usually, Rycote Stickies.

Mat K • Personally I use my pocketknife way more than my multi-tool. Although I bring both to every job, my pocketknife is more of a close friend than a back up.

Glenn N • Black Wrap, find it at any expendable outfit, great for French Flagging, Barn Doors, Light patterns... non flammable, stiff like aluminum foil.

Dave McL • My favorites would be a good multi-tool (mine happens to be a Gerber) and a good 3 or 9 LED pocket flashlight (torch). I used to think I’d pull these two items out once or twice a week, but they come out of my pocket 4 to 5 times A DAY!! A big plus is the fact that many of these flashlights use common cells (AA or AAA). As much as I’m in love with my pocketknives (rapidly becoming a politically incorrect TOOL), they become quite the hindrance when shooting political campaign work. When setting up for an Obama shoot, the US Secret Service took a very dim view of pocket knives (although multi-tools were begrudgingly admitted..... ha, who would have guessed).

Matt Q • I carry what I call my ‘Gaffer Box’ - It contains spare Gaffers tape (of course) a few basic tools including a gas soldering iron, some cleaning materials (bottle of IPA, swabs etc) a tin of small croc clips, fuses, some tripod screws, some VERY long nylon cable ties and a few spare phono, XLR and BNC connectors...

A few odd lengths of wire stripped out a 3-core flex. Oh, and a ‘tub’ of randomsized plastic clamp/clips from the DIY store... ‘Saved the day’ many times -

usually when someone else’s kit has let us down due to lack of prep/maintenance!

Ali V • Trail mix Conor L • Shower Caps - perfect for protecting lenses in downpours, fits snugly over a matte box too.

Tipp McC • I’ve found the best way to “Unfog” a lens is to leave it on a windowsill in full sunlight until it clears up, then seal it in a Ziplock with a bunch of desiccant bags to pull out any moisture.

Jim T • HANDY is an ALTOIDS box, and coins, they make a great ‘nose lift’ when shooting off the ground.... Other favorites, MINI- leatherman with scissors, LARGEST Black trash bag you can buy for A) Raincoat, B) Camera rain cover, C) ‘tarp’ for other gear and kit bag. I also routinely carry: zip ties, knife, full size leatherman, coax barrel, fiber barrels, small multi tip screwdriver, small LED Flashlight and ‘headlight’, gaffers tape, 20 or so feet of 1/8” trick cord/string, Chris K • A backup camera: when traveling always have some kind of 2nd camera recording device. In case your #1 camera goes down for any reason.

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

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

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PRODUCT REVIEW

By Bruce Adolph

Yamaha THR10 the “Swiss Army Knife” of Amps…

OK, so it is may be made in the Orient and not Switzerland but this little amp has so many features and practical uses you just might not want to go anywhere without it!

First of all - the hip look of this amp is a winner right out of the gate. It even has a tube-ish warm glow to it (thanks to Yamaha’s unique internal lighting) and I like the old school Japanese radio color. It is lightweight (just over 6 lbs.) and even runs on battery if need be… in fact you get 6 hours of power on just 8 AA batteries. It has an AUX input for iPods, iPhones, or iWhatevers . . .and because of the special small but full range eight-centimeter stereo speakers you get a great sound on playback devices before you ever plug your guitar into this amp. When I go and exhibit at different guitar shows or music festivals this amp will fit in my carryon bag and deliver everything I need to demonstrate the guitars and products I have with me in the booth (and I won’t have to pay extra for power either!).

My wife Judy likes taking it from room to room in our house and playing the music on her iPhone through it. I originally wanted it as a play back system for my small recording set-up with my laptop, but that was before I actually plugged it in and heard the tones that are laden inside of it. This amp is the real deal.

engine is under its hood. This is not a tube amp, but to its advantage this 10-watt tube-amp emulator does have Yamaha’s Virtual Circuit Modeling inside of it which places five different amp simulations at your disposal. Not only that but the effects sound very realistic as well. All of the tones sound like you are listening to them through your playback monitors in a studio – crisp, clean, and some rocking tones at low volume… seriously good tone at low volume has a host of uses these days in smaller living quarters or if you are up late playing and your neighbors don’t appreciate your practicing. I was right about using this amp for playback from my computer based tracks, but I wasn’t expecting the programmability element to the THR10.

You can utilize the Cubase AI 6 recording software capabilities that come with the amp and from your computer really delve into tweaking the sounds yourself with the free downloadable THR Editor software and store five of them back on the amp.

To tell you the truth though, I was more than satisfied with the preset amps and effects that come with the THR10. Not to mention a tap button for setting your delays and a built-in digital tuner to boot.

The articulation of the guitar pick-ups was another winner aspect.

To help you understand why the sounds So once you plug in your electric (you on this little guy are so high quality you can also play a bass or an acoustic guitar need to know what type of tone generating through the THR10) you select which amp

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model you desire… Clean, Crunch, Lead, Brit Hi, or Modern. On a second knob you select the effect you want… Chorus, Flanger, Phaser, or Tremolo. The third knob allows you to add Delay, Delay with Reverb, Spring Reverb, or Hall. By this time your tone is sounding pro thanks again to the Virtual Circuit Modeling chip inside. You can choose to bypass the modeling altogether if you want to – so much versatility!

Other notable knobs are your Gain and Master, Bass, Middle, Treble, Guitar, and USB/AUX. A headphone jack rounds out this amp’s features.

I plugged in my Gibson Firebird one night as Judy was cooking a late night dinner and I romped through all of the amp and effect settings in one sitting... getting realistic tones that sounded great; and I was able to keep the volume low enough not to bother the local residents (or Winston our faithful dog), but quality enough sounds to keep my biggest fan impressed.

What is the best thing about this “Swiss Army Knife” of an amp with good retro looks and great tone for your home, studio, office or practice room? Yamaha delivers it all for a MAP (street price) of just $299.00. Check it out for yourself!

More info at www.yamahaguitars.com

Editor’s Corner - Continued from page 7

seen Peter in front of 50,000 folks at large music festivals and he gave our crowd all he had that night. He rocked it! A friend of ours, Pastor Holland Davis, wrapped up the night with a beautiful invitation to know Christ. It was one terrific night!

That was our special night on the Thursday of NAMM, but we still had one more special event to go… Sunday morning was going to be our 1st Annual Musician’s Chapel.

Two longtime industry friends (Mike Overlin & Corey Fournier) and I had a conversation about offering this at NAMM this year and lo and behold, it came to pass! Bob Bennett was kind enough to lend his talents and lead us with song, and then David Ellefson (bass player for Megadeth and a Vicar in the Lutheran Missouri Synod denomination) brought us an encouraging (and exhorting) message as our guest pastor for the service. The meeting room had filled up with 50-60 people and the whole thing had a really sweet spirit to it.

So many wonderful things happened at NAMM this year, but these two events were right at the top of the list.

Praise God… for his mercy endures forever.

Bruce & Judy

Drummer’s Perspective - Cont. from page 10

the goal with this is to gain confidence and solidify your groove. Get in the flow of the pattern you play and make it feel great. Don’t let anything change from bar to bar until you play some fill in measure eight. Listen carefully to be sure every note is as perfect as you can make it, but be relaxed at the same time.

Some of you are saying, “Yea, I’ve heard this before.” OK… BUT, you’ve got to do it! Record yourself doing this EVERY day! Listen back and pay attention to how it REALLY feels. Now listen back to Greg’s video clip, and to any great drum video you can check out. Do you sound like that? That’s the goal. Keep doing this until your groove feels relaxed and solid at all times. As my friend Abe Laboriel would say, “To groove, or not to groove… there is no question.” This is so true my friends. Everything else is just icing on the cake. Now go do it! Remember, “Discipline is a powerful thing.”

Blessings on your groove, 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.

FOH - Continued from page 34 Once the entire compression process has had its way with the audio content, the result is twofold—both of which are very useful in creating a polished mix.

1. Sounds and notes that might have been painfully loud and out of control are suddenly turned down and better blended into the texture of the mix. Many singers and instruments are capable of producing ear-splitting volume on certain notes—these are very likely to be controlled (less offensive) through the correct use of a compressor.

2. When the compressor creates gain reduction, the channel can then be turned up to regain the overall balance of the channel in the mix. As the output or makeup gain controls are turned up to establish the proper overall mix balance (or even if the sound operator just turns the channel up), the quiet passages are turned up because the compressor has decreased the distance between the soft and loud sounds—it has compressed the dynamic range into a smaller range than it was naturally. This helps reveal and highlight performance nuances that convey emotional impact and personality.

When setup correctly, a compressor is a valuable and effective tool whether used in a live performance or in the studio.

For more from Bill Gibson (www.billgibsonmusic.com) about live sound and recording, check out: • The Ultimate Church Sound Operator’s Handbook: Second Edition • The Hal Leonard Recording Method (six books in the series) • Q on Producing by Quincy Jones with Bill Gibson

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PERCUSSION

By Mark Shelton

Cajon & Djembe Capable of thumping bass tones and crackling highs, the djembe and cajon are percussion brothers from different continents.

Powerful, portable, and possessing a variety of timbres, these instruments are well suited to a variety of musical settings.

With bass tones produced at the center of the front panel and crisp highs at the upper corners, you can coax a meaty groove from “the box.” Most cajons have screws near the corners of the front panel.

Loosen the screws to raise the corners The cajon and djembe can perform in away from the side panels. This slight situations with drum set and full rhythm gap will allow for a better slap tone. Try section, or in intimate settings without drum inserting thin card stock (as a shim) to set. Both instruments are especially effective increase the gap and “soup up the slap.” when the instrumental texture is somewhat Sub-Saharan Super Drum sparse (and without a kick drum and other The West Africans got it right when they competing bass frequencies). used a tree trunk and animal hide to build The Box

Rooted in the traditions of “found sound,” the cajon originated in South America with the practice of drumming on a box or drawer. The basic cajon of today retains its box shape but with a sound hole in the back Cajons come in two basic models: flamenco and traditional.

The flamenco-style instrument includes cords, which rest against the rear of the front panel (main playing surface). When this panel is struck, the cords buzz against the wood to add a snare-like buzz to the tone.

FIG. 2:

FIG. 1: Here is an easy-going groove that works at a variety of tempos. Try it with an acoustic guitarist strumming eighth notes and hear how the simplicity fills quite a bit of sonic space.

With the variety of tones available, you can re-orchestrate drum set patterns for cajon and/or djembe. This alt rock a drum that could produce a frequency groove was inspired by the drum set spectrum from thundering bass tones to version found on Carl Albrecht’s DVD, penetrating highs--with ample volume for Drum Grooves For Worship. Notice how outdoor playing. the kick drum rhythm is covered verbatim The traditional African djembe by the cajon/djembe bass tone and the incorporates a natural skin drumhead snare part is duplicated by a high-pitched with a rope-tension tuning system. The accent. synthetic head found on the modern FIG. 2 : Using this groove as a version is not as susceptible to weather template, try creating a djembe/cajon changes and its screw-style tensioning version from a favorite drum set pattern. makes for easy adjustments.

The most important parts to transfer are The center of the head struck with either the kick and snare. Toss in some ghost the flat or cupped palm delivers the bass notes to fill some space and imply hi-hat tones while the middle and high frequency or ride cymbal.

The traditional version (without the “snare tones are found closer to the rim. cords”) produces the old-school “box” Experiment with playing these tones sound. using strokes that lift off the head (allowing Mic the cajon with one microphone behind ring) and strokes that remain on the head the sound hole in back and another near the momentarily (muffled). playing surface. Miking only the sound hole Mic the djembe on top of the head AND is often sufficient. A piece of foam rubber at the opening of the shell so that the full resting on the bottom (inside) may help range of frequencies can be heard. absorb some unwanted ring when miking.

Get A Groove FIG. 1:

parts for the djembe and cajon can run the gamut from simple to complex. These notated examples will work on either instrument and might serve as a catalyst for composing your own.

As with all rhythm section instruments,

Experiment with the cajon and djembe to discover more timbres for your sound palette. Knuckles, fists, fingernails, wire brushes, and bundled dowels can all be used to produce a variety of tone colors.

Although highly skilled players are capable of jaw-dropping technical feats on both cajon and djembe, most worship music can be accompanied with simple patterns on these user-friendly instruments.

Develop some basic skills on cajon and djembe and be ready to bring their beautiful flavors into a worship setting.

Mark Shelton’s experience in contemporary worship percussion is highlighted in the Gateway Create DVD series, Worship Team Director distributed by Integrity Music. His playing can be heard on the 2010 CD release from Gateway Worship, God Be Praised and the 2011 recording, Great Great God. An active blogger, Mark writes regularly at Percussion For Worship (www. percussionforworship.blogspot.com). ©2013 Mark Shelton Productions Excerpts from Percussion For Worship by Mark Shelton

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WORSHIP TEAM TRAINING

By Branon Dempsey

Does the Band Look Like Your Worship Leading?

Last month, our topic was on how our leadership, as a worship-leading band, looks to the church. Something else occurred to me this month: What about how our leadership looks to one another and/or from worship leader to band? In other words, if our direction as leaders is not clear among our team, it will only add confusion and difficulty across the board.

Just because your part of leading a band, does not necessarily mean that they are following you. Here are some steps we can take as leaders to ensure the clarity of vision and reception to our team. I’ve thought of three simple steps to help enhance this connectivity, which in turn, will have an enriching effect on the church in worship.

Communicating the sections of the verse and chorus to mark out where you are going is huge to the team. Don’t assume they will read your mind. Even if you’ve done the song 10,000 times for 10,000 reasons, it doesn’t mean your band-mates and singers will know where you are going in the event of changes. Mapping out when and where voices/instruments, entrances/exits, verse/chorus/bridge sections, as well as volume and dynamics will make a great blueprint for your band.

My old composition professor reminded me once, “If ever your musicians have questions as to what you’re doing, it’s because you’re not clear.” His words still ring in my ears when I rehearse/lead my own team. Simply, good communication will bring confidence to your team.

1. Be Clear: During rehearsal and run-through, be clear in your 2. Stick to the Plan: Don’t change direction. This involves key, tempo, song it! The most frustrating issues among mapping, flow, and making adjustments. the team are changes that are either unannounced or spoken at the last minute. Believe me, I’m speaking from experience. As leaders, we may be able to roll with the punches, but this may not be the case for our volunteers, and even professionals. Whenever you set plans in stone (hopefully this is accomplished in rehearsal), stick to the etchings of your own commands. Changes to the key, lyrics, and especially the entire song itself can throw a huge curve to the team.

This means they’re back at the drawing board and all their preparation is now out the window. Yes, we are led by the Holy Spirit in worship and we follow His lead. However, being a good leader also means that you keep your vows (Ecclesiastes 5:4) and move with your people (Ex 19.17). When you have a plan in stone, it serves as the foundation.

When the Holy Spirit does lead, you have a basis of operation – it’s also called planned-spontaneity. Overall, stay true to your words from rehearsal to service. Your consistency will be esteemed by your band and add to your credibility.

3. Chain of Command: In leading worship and music, the chain of command exists to help us serve one another.

It begins by listening. Following the Worship Leader and/or Audio Engineer will help you navigate through the flow.

If you are a singer, listen to where the

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main vocal lead is going. Avoid being too quick to harmonize or especially, sing over the leader. Know your role, listen to the melody, choose what you sing wisely and follow the leader. As a musician, do the same. Follow the flow of the main vocal and not the other instruments. In fact, the entire band needs to adjust their focus to where the leader is leading. If there is over-playing and high volumes and the worship leader is not heard, their leadership and direction will just be “buried-in-the-mix”. At the same time, by listening to where the vocal is being led, it gives you, as a musician, a broader concept of how to paint the overall picture.

Basically, the song is telling the story, and you have the unique opportunity to add color, images, and context. All good stories have an appeal from beginning to end. This is also reflected in our music making. Plus, we have the opportunity to bring the congregation on a musical journey to enhance their worship.

Remember, your talent and skill is also a tool to help others worship.

About the Author: Branon Dempsey is the CEO/ Founder and Training Director of Worship Team Training® (www.worshipteamtraining. com) a ministry providing live workshops and online resources for local worship ministries. Branon holds an M.Div in Worship and BM in Music Composition/ Performance and is an instructor with Christian Musician Summit, a writer for Worship Musician Magazine, Shure Notes as well as other worship publications. Branon and is a Training Partner with Yamaha Corporation of America | Worship Resources and part of the Expert Panel for Shure Microphones. Worship Team Training® is sponsored by Creator Leadership Network, Christian Musician / Worship Musician Magazine / Christian Musician Summit, Rain On Me Productions / Save The City Records as well as by Line 6, D’Addario, Proclaim Church Presentation Software, iSing Worship and endorsed by Promark Drumsticks and Jim Hewett Guitars.

Copyright 2013 Branon Dempsey | Worship Team Training® | Administered by For His Music. All Rights Reserved. Printed in the United States of America. www.worshipteamtraining.com

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A FEW MOMENTS WITH…

By Rich Kirkpatrick

Top Five Reasons 2013 will be Tougher for Worship Leaders Doomsayer or realist, you can decide; but this year will continue a negative trend for worship leaders set in place by a variety of cultural, economic, and other changes in the Church in America.

Basically, the outlook is not good when seen through anecdotal and insider data. I talk to many worship leaders on a regular basis and the stories are heart breaking. I also talk to lead pastors and am disappointed about how decisions are currently being made across our country. This year will be a tough one if you are a worship leader.

For whatever the reasons, the following trends will make it harder on those who feel called to lead worship. Some of these are not new, but perhaps a surprise or two is included. I believe that every negative does not have to brand us all. I applaud the many out there who are not beholden to the popular and look to the effective. What values do you sift your worship leadership decisions through, pastors? I have listed some values under each item.

shepherd the team? Who will mentor and raise up younger worship leaders? If the role of being a worship leader is that of a contracted platform performance we have lost the value of discipleship. The trend that most pastors call themselves a “communicator” or “teacher” over that of a shepherd reflects this. Leadership theory trumps grass roots connection. So, why would the guy leading music upfront need to think about anything other than that activity? This is bad news for the worship leader who desires to partner in shepherding his team and the church in worship. Either there is not time for it, or it simply is not valued.

If you want spiritual impact, a worship team is far better than a bunch of guys playing a gig.

3. Pay to play. Full time employment as a worship leader will almost disappear.

The trend is that volunteer worship leaders are growing in all sizes of churches and that full time church employees who lead worship are shrinking. If you are a volunteer, it’s like paying to play.

The expertise, political pressure, and specialized skills required are bigger than most volunteer positions. There needs to be a lot more training for these new leaders who have less time to get to reach the same high expectations. This is not good news because with the amount of younger people expecting to make any kind of living on leading worship has created a huge gap from what is really available out there.

1. Production value rules the roost. More specialty workers are needed who know video, audio, and other communication technology. This means less resources for actual “creative” talent as far as those who write, present, and create music. Yes, a good sound system is now a non-negotiable for a ministry and intelligent lighting is now becoming coveted. One wise man said to me, “if you can’t do it well under cafeteria lighting, a $20,000 lighting A worker is worthy of pay, so in the long system won’t help you.” run you get what you pay for.

Excellence does not require out-of-scale 4. Cattle call. Tenure will remain short facilities or production gear to achieve. for worship leaders. You are even more

There is a cattle call full of eager talented people to jump up and plug their Fender in and give it a go. The idea of being developed is gone. Worship leaders are now a commodity, and that is just not cool when you think of these people as people.

Value and develop people over time instead of stealing and buying talent off the shelf.

5. Cover band. The pressure to “sound like” someone else will continue to grow. Think about it, if you have less time to achieve a good result you won’t be able to innovate. Besides that, most pastors and leaders want you to sound like someone. You essentially are asked to mimic a vibe rather than craft an experience. The worship “industry” feeds this, too. It is so much easier to “cut and paste” than to create something new.

When programming, we borrow what we can download. Likely, in a larger church there are many creative people able to be tasked to create content custom to your culture, city, and theology. But, it takes a skill we lack and money we think we should not spend.

Cultivate and empower creative gifts in your church to help you lead worship over cutting and pasting from people you don’t know.

In summary, it is going to be a tough year for worship leaders. But, if we learn to apply higher values in making our decisions it is possible to spiritually impact our church and community in surprising ways. We can do the predictable and borrow what God has done last year in a famous church. Or, we can trust the Holy Spirit’s gifting in our own house of 2. Contractors win over pastors. expendable now. Because more and worship to lead us. I know it is not the Worship Pastors or Worship Arts Pastors more worship leaders are part time, even popular choice these days, but does will be seen less and less. The role of larger churches see this contracting as a anyone think we should at least try it? being upfront and on a platform has way to throw ideas on the wall and see become so important that leading and what sticks. This means if you are a young Rich Kirkpatrick, family man pastoring a team of artists is just not what worship leader and after a short time your and worship leader, writes at we want to pay for any longer. Who will leaders are not just feeling it, you are out. rkblog.com about creativity and leadership to worship leaders, pastors, and creatives.

Rich released an EP titled “Drink The Divine”, resides in Temecula, California.

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NOW HEAR THIS

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Christian Musician Magazine, September/October 2012

“THE M20d MAY FINALLY BE THE EPIPHANY THAT WILL CHANGE ONE’S MIXING LIFESTYLE.” —Strother Bullins,

“…DELIVERS AMAZING HIGH QUALITY SOUND AS THOUGH AN OLD PRO SET IT UP, CONFIGURED IT, AND IS SITTING AT THE CONTROLS.” —John McJunkin,

contributor to Church Production Magazine, January/February 2013

Pro Audio Review, November 2012

“THE M20d ALSO LETS MUSICIANS, WHO MAY NOT BE EXPERIENCED SOUND MIXERS, GET GREAT RESULTS.” —Paul White,

Sound On Sound, November 2012

“LINE 6 HAS MADE THIS DIGITAL MIXER A VERY USER-FRIENDLY AND INTUITIVE PIECE OF EQUIPMENT FOR ALL LEVELS OF EXPERIENCE.” —Evan Hooten,

Front of House, September 2012

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