Blessings

through the
Raindrops

The Freedom and Restoration of

Broken Walls

MARCH/APRIL 2011
Volume 9, Issue 2
03
Record Reviews Product Review
Know Hope Collective * Brenton Brown * Parachute Band Wickstrom Grand Theatre
Brandon Heath * Lakeside Live * Daniel Bashta Acoustic Guitar
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 Editor’s Corner
MARCH/APRIL 2011 VOL. 9, ISSUE 2
An Incredible Night
- Part 2 Features
On January 13 (Judy’s birthday), Worship Musician
th

magazine co-sponsored the 2nd Annual NAMM Night of

8 Product Review 44 Camera
Worship. Last year the first event was such a special time By Bruce Adolph By Craig Kelly
that I didn’t quite know what to expect with the second year. Wickstrom Grand Theatre Tips for New & Volunteer
It’s like throwing a worship service/party in the middle of a Acoustic Guitar Camera Operators
huge mainstream convention…you really don’t know who
is going to come. But thank God, into the huge ballroom at 10 From the Drummer’s 51 Lighting
the Hilton Hotel (right across from the Anaheim Convention Perspective By Greg Sisley
Center) streamed a crowd of more than 1,200 people! By Carl Albrecht Take a Look at Your Lighting
The WATS folks (Worship Arts Technology Summit) were our Still Expecting the Unexpected
partners again, which meant that we had the resources of 52 Mandolin
Yamaha, Shure, Elation Lighting, Media Shout and Yamaha 12 Keyboard By Martin Stillion
Commercial Audio all at our disposal. Not bad, eh? The By Ed Kerr Trinity College TM-475
day of the event I stopped by the ballroom to see how my Consider the Context Mandola
favorite live sound guy, Worship Musician columnist John
Mills, was doing. John was thrilled with the sound quality 15 Bass 54 A Few Moments With…
of Yamaha’s NEXO sound system and their MC7 digital By Gary Lunn By Melissa Doppler
board. That was a good sign of things to come. “Punch List” of Personal Traits Lowering the Bar
As the evening drew near, I wrapped up my meetings on
the convention floor and went back to the Hilton to see how 16 Vocals
sound checks were going. This was a bit of a struggle last By Sheri Gould
year, and my hope was that it would go more smoothly this Team/Choir Auditions: Part 1
year. Well, that was a good thing to hope for, but since we
had three well-known artists all playing in the same set, with 18 Product Review
different backing musicians and singers swapping in and out
– well, let’s just say the sound check was more stressful than
By Matt Kees
PreSonus StudioLive 24
Interviews
ever. We were running out of time, hadn’t given everyone 20 Blessings through the
a chance to dial in on stage, and 30 Record Reviews
I had already held the doors for Raindrops with Laura Story
By Heidi Todd
over twenty minutes. Yikes! Know Hope Collective
As Paul Baloche once told me, Brenton Brown
“Let the crowd in. It’s no secret Parachute Band
that we have sound checks; Brandon Heath
Maybe the people can learn Lakeside Live
something by observation!” So I Daniel Bashta
opened the doors, and the crowd
entered and immediately joined 34 FOH Engineer
in and began worshiping along By John Mills
with the band still sound-checking M7CL Tips & Tricks
on stage. That was another good
sign of things to come. 36 Ministry + Artistry =
Tommy Walker and his nine- Profitability? Creating
piece band opened up the night your MAP™
Tommy Walker Continued on page 43 By Scott A. Shuford
Promotion: Social Media

38 Authentic Worship
By Michael Gonzales
Developing Talent
4227 S. Meridian. Suite C PMB #275 40 Guitar Grab Bag
Puyallup, Washington 98373-5963 46 The Freedom and Restoration
By Doug Doppler of Broken Walls
Phone: 253.445.1973 Fax: 253.655.5001
Email: bruce@christianmusician.com Sound Advice
Website: www.worshipmusicianmagazine.com
Publisher/Editor: Bruce Adolph 42 The Band
Vice President: Judy Adolph By Tom Lane
Customer Service: Brian Felix Worship is Visual
brian@christianmusiciansummit.com
Proof: Kevin Wilber, Toddie Downs
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.

WORSHIPMUSICIANMAGAZINE.COM MARCH/APRIL 2011 7

 PRODUCT REVIEW
By Bruce Adolph
Wickstrom Grand Theatre Acoustic Guitar
I first met luthier Craig Wickstrom about 5 years ago.
He is a fellow believer from Olympia, WA who was hand
building a really nice acoustic guitar for a very affordable
price. The more I got to know Craig, the more I thought,
“This is a guy to watch”. We kept in touch off and on over
the years, and then last month at the NAMM show
while I was standing at our magazine booth,
up walked Craig Wickstrom himself! He
told me he had a new guitar design that
he would love for me to take a look at
in his booth in Hall “E”. The next day
I set out on a mission to find Craig’s
guitars; I’m really glad I did!
He has created a uniquely designed
acoustic guitar with a cantilevered
neck and a round offset sound hole.
The body shape is smaller than a
dreadnought, and the tone woods used
for the top, back and sides are all solid
woods. Craig refers to this special size as a
Grand Theatre (smaller than a dreadnought but
not as small as an Auditorium size guitar). In his
booth he had three different wood combinations… one,
a mahogany back and sides with a cedar top, a second
was an Indian rosewood back and sides with a Sitka spruce
top, and the third sported a Brazilian rosewood back and
sides with an Engelmann spruce top.
I played them all and was quite impressed with the
sound quality. Plus, the wood binding work and overall
craftsmanship was top notch. When I heard how much
he was asking for an instrument of this quality, I again
thought to myself, “How can he sell this much guitar for
so low a price?” I saw a well-known worship leader friend
of mine (who shall remain nameless) walking down the
convention aisle, and I pulled him into the booth to try out
the Wickstrom. This particular worship leader happens to
own several different really nice, hand-made luthier guitars
and after playing the Wickstrom he was very impressed
with the quality and couldn’t believe the pricing either.
Consequently, my interest in the Grand Theatre was
boosted even more. I decided right then and there that I
wanted to review this guitar. There are many wood options
you can select to customize this guitar, but the standard
one that most worship leaders would choose would be the
Indian rosewood back and sides with a Sitka spruce top.
This is the model I have with me today for review purposes.
A cantilevered neck has been around for a long time in
violins and jazz top guitars. The benefit of it is that the top
vibrates freely, giving you a well pronounced sustain. The
round, offset sound hole is closer to your head/ears than a
regular sound hole, which sits in the middle of a guitar, so
you get to hear the instrument much better – kind of like a
personal monitor. And what your ears instantly pick up on
is a great big warm bass sound, along with good mids and
highs that ring out clear and true. The dynamic range and
clarity of the tone really shines through. The Grand Theatre
has it’s own “voice”.
Wickstrom’s bracing is unique, as it is made with a
scalloped X brace with a single scalloped tone bar instead
of an upper bout cross bar. It also utilizes a sound patch
here and at the bridge plate.
I let our handy customer service manager, Brian Felix, try
8 MARCH/APRIL 2011 WORSHIPMUSICIANMAGAZINE.COM
the guitar and he was smitten
by the tone and playability of
the guitar. “When I first picked up
the Wickstrom,” Brian commented,
“It felt like I was coming home.
It felt great, stem to stern, and
strumming the first chord,
(D/F#), it rang with rich tones
all around. A new song wanted
to flow from my fingertips to my
heart… it was very inspiring!”
Wow! That is a ringing endorsement!
The fret board is ebony and the neck is
thin and comfortable. The nut width is a
roomy 1&3/4” wide, and Craig’s fretwork
is spot on. The tuners are high quality
Waverlys and the slender headstock has
an Indian rosewood veneer. The neck
also sports a volute that is stylish and
comfortable for your left hand to rest against
when playing your first position chords.
What sets this guitar apart even more is the fact
that the neck is a glued set neck (not bolted). A set
neck is more work to build, but gives a better resonance up
the entire length of the guitar. The heel is elegantly sculpted
and feels great when you reach up higher on the register,
with a Florentine cutaway available as a custom option.
The base of the heel has a beautiful slant to it that also adds
to the overall custom feel of the instrument.
Craig hand-selects the wood for each of his guitars and
builds the entire instrument from start to finish himself, which
means there is a limited availability. He is a one-man luthier
shop, and he is really on to something special with this
design. The guitar feels light in your hands and playing
this guitar is infectious. Once you start playing, you simply
don’t want to put it down!
Each Grand Theatre guitar comes with a Highlander pick-
up system and a hard-shell case.
This guitar will Map at $2,699.95. More info at
www.wickstromguitars.com
Editor’s Disclaimer – We
are launching a retail
sales website of our own at www.worshipguitarplayer.com
and we are grateful to be a dealer for Wickstrom Guitars
(among other products). Since I wrote this review myself, I
thought you should know.
Charts
Tracks
Arranging
Planning

Find It Here!

Everything You Need

to Plan Worship!
 FROM THE DRUMMER’S PERSPECTIVE
By Carl Albrecht
Still Expecting the Unexpected
or (That Would Never Happen to Me!)
I broke a kick drum head all the way
through the other night. But NOooo, not
at sound check or a session where we
would just take a break and fix it! It
was the FIRST song of the evening in a
concert with Paul Baloche.
Well,,, I just kept on playing with
the “kick” mallet flopping through the
perfectly sliced drumhead. The rest of
the band looked at me with that “What
are you doing?” sort of look. There had
been a definite change in the sound and
feel of the music. The next song was
supposed to start immediately after the
first. So I counted it off and proceeded
to play the floor tom with my right hand
for the kick pattern and the snare with
my left for the backbeats. At the same
time I played 8th notes on my hi-hat with
my left foot. It actually worked pretty
well. Paul turned around and gave me
a funny look, and later commented he
thought I was trying to be creative.
While keeping a smile on my face, and
just pouring my heart out in worship we
got through those first couple of songs
without “crashing”. At the end of the
second song I told Paul what happened.
I ran off the platform and made a beeline
for the church choir room.
Earlier in the day I roamed around the
building exploring the church as I often
do when we travel. There was an old
drum set in the choir room that became
my lifesaver for the evening.
While Paul shared with the
congregation and played a more
“unplugged” tune I borrowed the bass
drum from that old beat up kit and took
it to the stage. In a few seconds, with
the help of the sound crew, the drums on
the platform were ready to go again…
“Bam!” we were back in business.
This also has happened at a rehearsal
recently at the Chattanooga House
of Prayer. Fortunately I had spare
drumheads in my van. We were able to
take a short coffee break in order for me
to change the head. (*See Photo – In
both situations it was a single ply head.
That’s why I usually use double ply.)
I have been accused of being too
cautious at times. Jokes about all the
extra stuff I carry with me are often heard
at sessions or on tour. “Ask Carl, I’m sure
he’s got it in his bag.” … “fingernail
clippers?” “…a 9 volt battery?” “…a
guitar cable?” “...duct tape?!!! It’s not
that I’m paranoid. I’ve just learned to
expect the unexpected. Please don’t
think of this as bragging. I’m just grateful
to those who have taught me about
being ready for anything.
10 MARCH/APRIL 2011 WORSHIPMUSICIANMAGAZINE.COM
The primary rule for being prepared
is:
#1. BE PREPARED – Go to the job as
if no one will have anything you need.
That should mean having these things
in your stick bag and road cases. I also Normally
have spare parts like this at our church. I only take three pieces of luggage
• A large supply of sticks, brushes, when flying. My luggage for clothes
mallets, etc. - of varied weights also contains my stick case. The road
and models for whatever you have case with my cymbals also has a spare
to play. Also keep a few pairs of kick pedal. These 2 cases are checked.
sticks in places other than your My 3rd piece is my carry on with my
stick bag. (i.e.: in your luggage laptop, some books, a mixer, and other
or other cases.) You’ll be glad you personal items.
did if your stick bag is ever lost or The drums and other gear are supplied
delayed in flight. by the concert organizer. If the budget
• Spare parts for every moving will allow it I’ll bring a case with 2 snare
part on your drums: kick pedal drums. The airlines are charging for the
springs, straps, nuts & bolts, pins for extra bags now so I’ve been making
footboards, etc. etc. that a rare option. I only do this when
• An extra hi-hat clutch. (*The device I’m working on a recording or the artist
that holds the top cymbal of your hi- request it.
hat set) Yes, I have had that piece I always send a very detailed list of
mysteriously disappear; especially things I need for an event or concert.
when renting drums on the road. Allowing for supply problems, I give
• Cymbal stand wing nuts, felt plenty of options. For example I’ll give a
washers, and nylon sleeves for list of several snare drum options or even
cymbal stands. (You can buy these different drum manufacturers so that my
items at most music stores.) TIP: Go “drum rider”(a contract equipment list)
to a hardware or auto parts store doesn’t look like the search for the “holy
and get felt, nylon tubing and other grail”. I still contact the event coordinator
spare items for much less money. to verify that everything is OK. Believe
• A kick drum head patch pad. On it or not sometimes they don’t read
most kick drumheads, especially the contract or riders that artist send.
double-ply heads, you can see So the other rule of preparing is: #2.
a small split begin to happen. COMMUNICATE, COMMUNICATE,
Before it becomes the nightmare I COMMUNICATE!!!
described earlier, use a patch at the After all of the preparation I still do the
point of attack. I know the sound is walk through I mentioned earlier. Just to
a little different, but in “live” settings get an idea of what is available for an
it’s a lifesaver. emergency. If I’m traveling with all of my
• Extra drum heads for each drum. own gear that’s not usually a concern. I
• String or straps for your snare drum. may still do it just for the fun of exploring.
And a 2nd snare drum, just in case. Who knows the equipment truck might
• A few spare drum lugs. They get break down or get hijacked by terrorists
loose and come out from all the looking for my drums!
vibrations. They also fall out of the Nah,,, “That would never happen to
road case never to be found. “Go me! ”
figure!”
• An extra kick drum pedal. One
that you can fold down to fit into Carl Albrecht has been a
a tour case or piece of luggage. professional drummer & per-
Even if you have parts you don’t cussionist for over 25 years.
want to take time during a concert He has played on over 70
to rebuild a pedal. It doesn’t have Integrity Music projects;
to be expensive. Just get one!! Maranatha Praise Band recordings &
• And of course, a small roll of DUCT numerous other Christian, Pop, Country,
TAPE!! The “quick fixer upper” for Jazz & commercial projects. He currently
all musicians. lives in Nashville doing recording ses-
sions, producing, writing and continuing
The whole drum set is usually duplicated to do various tours & seminar events. Visit
on big tours. This is not the norm for his website: www.carlalbrecht.com or
most of the smaller tours or “fly dates”. send an e-mail to: lmalbrecht@aol.com.
 KEYBOARD
By Ed Kerr
Consider the Context
This past Sunday, I faced the perfect storm
of scheduling challenges in trying to build
the rhythm section for our Sunday morning
gatherings. The Super Bowl was going
to be played later that day, and many
of our musicians from the youth group
were at their Winter Camp. Both of these
factors whittled down my list of available
musicians considerably. Still, I was able
to build a four piece band and things
went well. Some of what happened on
the platform is ripe for discussion here, so
let’s jump in.
I suspect that most of you are like me in
that the worship teams with which you
play most often have a five member
rhythm section: drums, bass, acoustic
guitar, electric guitar and keyboard. Your
team may be a variation of this rhythm
section but I suspect that the majority of
our teams are similar in that they involve
two guitars, probably an electric and
acoustic. On this Super Bowl Sunday
no acoustic player was available, so
we went with drums, bass, electric guitar
and piccolo. Just kidding. No piccolo.
Making sure you’re paying attention.
Drums, bass, electric guitar and me on
keyboard.
Because our rhythm section was smaller
than usual, each player took on a
different role than they would have had
there been an acoustic guitar player with
us that day. The musical concept that we
put into practice was an essential one for
each of us. Consider the context.
Are you playing solo keyboard for a small
group meeting? What you play should
be different from what you play if you’re
joined by a percussionist. Are you part
of an eight piece rhythm section where
you’re playing auxiliary/secondary
keyboard? What you play should be
different from what you played with the
percussionist.
This isn’t just true of you but is true of every
player in your rhythm section. On Super
Bowl Sunday, for example, we lacked
the acoustic guitar player’s ability to
strum lightly when we did a “breakdown”
chorus of one of our songs. You’ve heard
and probably played many breakdown
sections, where all instruments but one
or two (often an acoustic guitar) would
12 MARCH/APRIL 2011 WORSHIPMUSICIANMAGAZINE.COM
typically drop out. During Sunday’s material. The hook must have the spotlight
breakdown chorus, our drummer at this moment. If another melody is
responded to the context by providing played along with the hook it’s like having
some light 16th note activity on his hihat, two people talk to you at the same time.
imitating the rhythmic contribution an Confusing and frustrating for the listener,
acoustic guitarist might have provided. and definitely musically distracting.
At this moment the rest of the rhythm Just as instruments dropping out help
section also gave thought to what we a breakdown chorus contribute to the
should play. The goal in this breakdown musical momentum of the arrangement,
section was for the instrumentation to thin restating hooks has the same effect. Be
out noticeably. So, the electric player intentional when using a hook. Don’t feel
continued, along with the drummer, and like you have to do some super creative
the bass player and I dropped out. variation of the hook each time it recurs.
Quote it literally. Same melody. Same
We could have all kept playing but range. Same instrument. That’s how hooks
played lightly. By not playing, though, are most often heard on recordings. Try
we made room in our arrangement for that yourselves, regardless of the context.
there to be a sense of musical momentum
as the chorus continued. When the bass Be clear on these things as you rehearse
player and I reentered, we helped the your songs. Determine who will play the
texture and dynamic of the music build hook. Determine what you’ll do within the
into a final chorus, and there was a real rhythm section when a breakdown comes
sense of payoff as we sang that lyric for along. Actually, think about what you’ll
the last time. do to make all sections of your song be
musically distinct from each other. Is the
Though we changed certain things we did whole band playing loudly for the intro
in our rhythm section that day, there were when the hook is first heard? Come down
plenty of things we did like we always a bit for the verse. Ramp up dynamically
do. One of those was to involve hooks to the first chorus. Or, as is modeled so
in our arrangements. A hook is a melodic beautifully on many of Hillsong United’s
idea usually presented in the intro of a tunes (for example “Desert Song” on their
song. That hook is heard again, often This Is Our God project), break down the
when the first chorus of the song ends, first chorus. Then restate the hook in a
and then at the end of the song as well. It reintro. Bottom line: Let there be a sense
may be heard at other places during the of arrival musically as the sections of your
arrangement too but is characteristically arrangement are heard. You can do it.
featured in these three spots at least. On solo keyboard. With a percussionist.
In that 8 piece rhythm section.
So, in the context of our four piece band
on Sunday, if there was a hook that the Consider the context. This sense of
acoustic guitarist might have carried, actively considering what you’ll play as
either the electric guitar player or I played your arrangement progresses can keep
it. Note that the bass player definitely you musically engaged and, by the grace
could have played the hook instead. of God, help you and your congregation
Have your bass player do this sometime. engage in worship. Jesus, thank You for
It can be a very effective arrangement the privilege You’ve given us to give our
idea and a fun challenge for your bass hearts, our hands, and our musicianship
player. back to You. Your love is amazing.
Regardless of who’s playing the hook’s
melody, each of the other players on the As a songwriter Ed has written over
team who might play melodic activity 100 songs with Integrity Music. He has
need to stay out of the way of the hook. a Masters Degree in piano performance.
When a hook is being established at the Ed and his family live in
beginning of an arrangement or reused Washington State. Ed plays
during the arrangement, it’s crucial that Yamaha’s Motif XS8.
no one else play competing melodic www.kerrtunes.com
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THe STrInG experTS


By Gary Lunn
“Punch List” of Personal Traits
Reflection
As we pray for growth and guidance
in our quest to be the best we can be,
we should all have a “punch list” of
personal traits we need to maintain as
highly called musicians. Balancing and
strengthening these traits can be quite a
spiritual and emotional ride. There are
several basic, root-level human traits
that we must keep in check to better
serve Him. Here are some to consider.
Confidence
We rely on the Lord.  He gives us our
talent and we must continually praise
Him for that.  Seeking opportunities to
return it to Him is the least we can do. It
is our responsibility to keep our abilities
at a fine-tuned level so that our worship
leader can always depend on us. I
firmly believe that the more we practice,
the more confident we become, thus
keeping our minds clear for inspiration
and guidance. In my opinion, a good
definition of a professional musician is
one who never plays more than 95%
of his ability, which simply means to
always play in control. That is a good
kind of control!
Balance
There must be a good balance
between a player’s confidence as a
musician and as a person. Confidence
among musicians in the worship team
often can swing in the other direction if
we’re not careful.  If we take ourselves
too seriously as musicians, there’s
a good chance that arrogance will
emerge.
Self-Assurance
We need to be confident in our
playing ability, in that we have more
than enough to serve with - not to
dazzle with.  Dazzling would fall
under the category of “man-pleasing”
or “performance.”  These are spiritual
issues that we certainly don’t want to
wrestle with. Ephesians 6:12 says,” For
we wrestle not with flesh or blood, but
with powers and principalities, against
the rulers of darkness in this world, and
against spiritual wickedness in high
places.” Self-assurance rising up in you
is good, but ego is not.
Integrity (of the tongue)
Gossip has no place anywhere near
the worship team. If you ever learn of
a matter regarding a fellow musician
or singer, pray with them and/or for
them. Don’t ever talk about them or
WORSHIPMUSICIANMAGAZINE.COM MARCH/APRIL 2011 15
repeat the story to anyone. Remember
James 4:11 says, “Speak no evil of
one another. He who does so judges
them, speaks against the law, and
judges the law.”
Humility by Default
There are different ways to consider
humility, such as lack of pride, lack of
vanity, meekness, submissiveness, etc.
Every one of these traits is desirable for
us as Christians, not just as members
of a worship team! If we focus our
attention on God and off of ourselves
we can’t help but hit the mark. Most
importantly, always remember that the
opposite of humility is pride.
Responsibility
Responsible, by definition means
having an obligation to do something,
or having control over or care of
someone, as part of one’s job or role
An important responsibility as the
bass player in the worship team is
to “simply” hold everything together.
To do this we must be accomplished
musicians as well as “prayed-up”
believers.  We have to be super
attentive, ultra-sensitive beings as we
watch the worship leader and listen to
the Holy Spirit.
Dependability
To be credited for holding down the
foundation of the rhythm section (with
the drummer, of course) is a pretty
awesome feeling. When the bass
and drums are listening to each other
and “locking in” together, good things
always happen in the music.
Sensitivity
It is all musicians’ responsibility to pay
close attention to our “general”, the
worship leader. We must watch their
eyes, hands, and body language to
discern the next part of the song, the
dynamic, etc. If you’re not watching,
you may cause a huge train wreck
or severely frustrate the worship
leader.  Either of those mishaps can
hinder what God wants to do at an
important time in the worship service.
The worship leader trusts us to play
tastefully, in tune, and with great
restraint, and never to overplay.
Servanthood
A servant is, basically, a person
who performs duties for others. In the
church we are servants of God, but
in our worship team we serve the
BASS
worship leader.  Hebrews 13:17
says, “Obey them that have the rule
over you, and submit yourselves: for
they watch for your souls, as they that
must give account, that they may do it
with joy, and not with grief: for that is
unprofitable for you.” In this context, the
word “obey” means, “to be persuaded
and confident, to be free from fear or
doubt.” When we obey those who
serve it brings us confidence and
freedom from fear.  But as musicians
we must be an example of what our
worship leader feels that God is trying
to say.  We serve by listening and by
being sensitive.
Authority/Skill
Authority is simply the right to act in
a specified way, delegated from one
person or organization to another.
Through knowledge of our instruments
and knowledge of scripture, we are
graced with the “right” to lead people
into worship and into further intimacy
with Him. We should be driven to
be nothing less than experts on our
instruments. Bassists do have authority,
and I also believe that every musician
in the worship team is a worship
leader in his or her own right.  We
truly lead from our instruments and are
called to do so skillfully.  But authority
comes from God and is only attainable
without pride (God opposes the proud,
but gives grace to the humble).  Pride
always leads the way to selfish
ambition and self-promotion. We must
constantly be on our guard against
pride.
As we grow in our skill, humility,
confidence and servanthood, we will
continue to realize more authority in
our position, as well as maintain our
integrity. We must continue to realize
our aspirations to be examples that
other musicians can look up to and
learn from.
Gary is a session player/
producer/writer in Nash-
ville, playing recording
sessions, and various live
events. www.facebook.
com/garylunn
 VOCALS
By Sheri Gould
Team/Choir Auditions: Part 1
Last time I talked about the concept of
holding annual auditions for your choir
or worship team. I outlined some good
reasons for implementing auditions and
mentioned some of the benefits. This is the
first of a two part series where I’d like to
offer suggestions as to how to hold effective
auditions that can prove beneficial to both
the leadership and the folks auditioning.
Your Mindset
First of all I think it’s important for you as
a leader to have the right mindset about
auditioning. This is NOT American Idol.
The purpose of these auditions is to help
people find their gifts and use them. It is
to help build up the church. We are not
just looking for talent, nor are we trying to
elevate certain people’s gifts over others.
We are simply trying to help people find
their place in the correct area of service
for how God has equipped them. So the
audition process should be educational,
not simply a way to include some and not
others.
Because we have in mind to educate and
encourage, we need to design the process
with those two elements in mind. This is
also about discovery for us in leadership
as well. So we need to define a few key
things as we go forward planning the
process. Some things will be specific to
your church environment and needs so I’m
just going to offer some general concepts
which can be modified to meet your
individual needs.
Help
First of all, you should not attempt to
hold auditions with only you as the
“judge”. There are many reasons why
this is important. First of all, you are not
completely objective—no one is—and
the more input you have the more likely
you are to come to a more objective
conclusion. I do think that in the end you,
as the leader, can make final decisions
if necessary. But I think it’s very important
to get lots of input. So I suggest you find
at least 2-3 other people to join you in
the process. Other qualified people from
outside your church would be especially
valuable because of their objectivity. By
putting together a “panel”, you also make
it easier on everyone. It’s easier to sing for
5 people than it is to sing for 1.
Make sure your share with the panel
what they are looking for. It would be nice
if you made up sheets for each of them that
they can simply fill in for each person that
auditions. This way you can help direct
their thinking toward the things that are
important to you. These sheets will be very
helpful as you make your final decisions
16 MARCH/APRIL 2011 WORSHIPMUSICIANMAGAZINE.COM
given a provisional chance with specific
guidelines. For example, they need to be
re-assessed in 3-6 months to be sure they
are working toward their goals in a timely
fashion. This “provisional membership”
gives you some protection for giving
someone a chance that might not quite be
ready, but that you have great hope for.
and as you create a valuable assessment By giving everyone a “take-away”, the
for each applicant. process can be a positive, uplifting as
I have been involved many times with well as growing experience for everyone.
churches throughout this process. My In a sense, almost no one is turned away
presence has helped to lend a measure because they are always given a path
of credibility to the whole process. In toward ultimately achieving their goal.
addition, having someone from outside If they choose not to follow the “path”
can help to relieve some of the pressure (instructions you’ve given them) then
off of YOU. It might be easy for some they have made the choice not to join
people to feel that you have a bias or an the team—not you. With an attitude of
agenda; some people may even have humility however, everyone can take the
negative feelings toward the idea of constructive criticism you’ve offered, and
auditions and inadvertently project them grow from it.
onto you. Although we want to make this Structure
a positive and uplifting experience for I suggest having people register for a
everyone, there may be a few disgruntled specific time slot ahead of time. When they
folks in the end who want to find someone register, you can hand them instructions
to “blame” for the outcome. That someone and a form to fill out. The instructions
will likely be you. If you have others from should include when to arrive, where the
outside your church, their presence can auditions are, what to expect, what to
help to validate what you’re doing as well bring and how to prepare. I would allow
as make it less likely that you’ll have to 15min for each audition, it should only
shoulder all the responsibility. take about 10, but it’s nice to have a little
leeway. The form should provide space
A Take Away for Them
An important aspect of having effective for them to fill in important and pertinent
auditions and making them a positive information relevant to the team such as
thing for all involved is making sure that availability, previous experience and skills.
everyone benefits from the process. Even When I do auditions I like to have people
folks who may not be ready yet to step come prepared to sing a portion of a song
onto a platform and serve on a worship with a CD accompaniment track and also
team can still in the end feel the process a verse and chorus from a worship song
was positive and beneficial if handled accompanied by a keyboard. They should
correctly. be responsible to provide any music
One of the things that I find important is to necessary and you should provide the CD
give feedback. Some feedback may be player, keyboard and accompanist. I feel
given during the audition itself, but what it’s important to see how a singer responds
I find effective is to actually present each to both acoustic accompaniment as well as
candidate with a written assessment. This the orchestrated recorded accompaniment.
written assessment may take some time to After hearing the songs they’ve prepared I
do, but it will make the whole process a lot will typically run them through a series of
more valuable. In this assessment, you can exercises to determine various things like
give specific indications about the person’s range, vocal independence, ability to sing
current qualifications. Additionally, in the harmony and/or make up harmony on the
case of someone who is not quite ready spot, etc. (I will elaborate more on this in
to join a team, you can also give hope part 2)
by outlining specific things they can do Next time we’ll get into specific of what
to ultimately become ready. I think it’s to look for and how to determine who can
important, whenever possible, to give be a good fit for your team. We’ll also
someone adequate hope and direction. explore alternate avenues for using some
Try to be specific about what they need of the “leftover” people who’d love to
to achieve and how they can best achieve serve even after you’ve met your quota.
it. Give them a time frame for being able Until next time God bless and keep on
to come back a re-audition if they feel they singing!
may now meet the qualifications. Having
a written record will also be helpful for Sheri Gould has a BS in
you in the future when they do return to re- Music Education (Vocal/
audition so that you can compare and see Choral) from the University
what their progress has been. of Illinois. A church music
Additionally, there may be some whom director (Choir/Worship
you feel might be able to gain those skills Leader) since 1985, she also teaches
necessary, most effectively, by being vocal techniques at various workshops
on the team. These people can be around the country. Send your questions
to: sherigould1@aol.com
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 PRODUCT REVIEW
By Matt Kees
PreSonus StudioLive 24
There are many churches are making
the jump to digital consoles these
days. Why is this? Better sound? Save-
able settings? More bells & whistles?
Affordable? I’d say ‘yes’ to all of
these, in most cases, except maybe the
‘affordable’ question... until now.
The PreSonus StudioLive 24 channel
console is a great option for the
small to medium-sized church, doing
worship services with a standard sized
band (drums, bass, electric guitar,
acoustic guitar, keys/piano, handful of
vocalists...). It’s a great option because
it offers 24 XLR inputs with Class A
mic pre-amps, a FAT channel for each
input (more info below), 10 aux sends,
2 built in FX channels, 4 sub groups,
and more... all for less than $4k at
most dealers, many listing for $3,300.
Why is this such a great deal... well,
for me, there are three reasons. 1) The
Fat channel 2) Multi-track recording 3)
remote control via iPad (or laptop).
Speaking of medium sized churches,
my church in Tacoma is considering the
move to a digital console. I have had
the good fortune to take this PreSonus
24 on a test drive to see if it will meet
our needs. The most important factors
right now are cost and quality... and
can we risk losing a 40 channel analog
console to a 24 channel? After spending
some time weighing the pros and cons,
the benefits from the smaller PreSonus
console outweigh the additional 16
channels that we’ll lose. We’ll make up
for the convenience of multiple channels
by installing a patch bay for simple
switching. And if we really wanted to,
in a few years when the economy is
back on it’s feet, we can purchase a
2nd SL24 and daisy chain it to the first
one via firewire for 48 inputs.
So what is it about the PreSonus that
sold us?
First of all... let me just say that the mic
pres for this console sound amazing.
Very clean and clear. It was the first
thing my pastor and my worship leader
said they noticed right away... that the
quality of the sound was clearer than it
had been before.
As mentioned above, the Fat Channel
is what makes this SL24 so amazing, in
my opinion. What is the FAT channel?
It’s the meat of the console... it contains
a phase reverse button, high pass filter, a
gate/downward expander, compressor,
limiter, and 4 band parametric EQ. The
18 MARCH/APRIL 2011 WORSHIPMUSICIANMAGAZINE.COM
phase
reverse
and high-pass
filter can be applied
to each and every channel.
But the dynamics processing
(compressor, gate/downward
expander, and limiter) and the fully
parametric EQ can be applied to every
channel, aux, subgroup, FX bus, and the
main bus. Anywhere you see a Select
button on the mixer, you can apply the
Fat Channel. The Fat Channel also is
where you assign channels to buses and
do panning. And the mixer has enough
DSP in it that you can apply every
processor in the mixer to every possible
channel and bus, simultaneously, and
you will never come close to using up
the processing power. This is great! In
our previous scenario with our analog
console, we only had compression for
6 channels, so we’d have to pick and
choose which ones would get it. We
simply could not afford to purchase a
compressor for all 40 channels, let
alone 24. Now, every single input can
have compression, and limiting, and a
gate/expander. And the 4 band fully
parametric EQ is much more functional
than our previous EQ on the analog
console where only the hi-mids and
lo-mids had sweepable frequencies.
Having this flexibility on each input, as
well as each auxiliary, sub and mains is
a tremendous benefit to live mixing.
In addition, the SL24 has eight 31
band EQ’s (or 4 stereo pairs) that are
assignable to the mains, an aux output,
or subgroup output. This is great for
tuning your room for the mains, and floor
wedges for the stage.
I also like the 10 aux outputs. These
can be run in 5 stereo pairs for in-ears,
which makes for a great option for that
small touring band who needs a simple
way to have the same monitor mix at
each venue... just plug into the house
PA and go with your same in-ear mix
from the night before. Or you can send
a mono aux send to a powered monitor
wedge, and use one of the built in 31
band EQ’s.
All of the Fat Channel settings, EQ
settings, and Aux settings can be saved
internally. So different worship teams
can have different ‘scenes’ that can
be recalled with the touch of a couple
buttons. The only downside here is that
the input gain is not programmable, but
more on that later.
What a treat to have all of these
dynamic effects, EQ’s and FX all built in
to the console. Fewer items in your rack,
fewer cable runs, fewer units drawing
power... cleaner, simpler, better.
The number 2 reason this unit was
an easy sell is the ability to multitrack
record using the ‘Capture’ software
provided by PreSonus when you
purchase this console. This rig works
so well with a computer hooked up via
firewire. You can send the 24 channels
you are mixing live straight to Capture
and record it live. Then go back after
the service, edit and mix the recording
with PreSonus’ StudioOne software
(included). What a great and simple
tool. Use it to record the whole band,
or just the message. This will make multi-
track recording your worship team easy!
Use these recordings to go back and
critique performance, or start working
on your next CD project to share with
your congregation!
And now, one of the slickest features
of this console. You can now control it
remotely with an iPad. Why is this cool?
It will allow you to mix from anywhere in
the venue, it will allow you to go up on
the stage and change the monitor mix as
you listen to it... this is extremely cool.
In fact, you can run up to 10 iPads at
the same time, giving the option for your
worship leader, drummer or whomever,
to change their own monitor mix, if they
so desire. So, how does this work?
PreSonus includes software with every
console called Virtual StudioLive. This
enables you to hook up a computer
directly to the console via FireWire (the
same way you’d connect to record).
This enables you to control the console
through the computer… so when you
change a setting on the computer,
it changes on the mixer, and vice
versa. Then, to make it work remotely,
you simply set up a wireless network
Continued on page 44
 ...for Christian musicians, leaders, songwriters, indie artists and
technicians to improve skill and inspire talent all to God’s glory!
for info & to register...
www.ChristianMusicianSummit.com
MAY 13 & 14, 2011
at the Chapel at Crosspoint
Buffalo, NY
Paul Baloche * Gungor
Kari Jobe * Laura Story
John Mark McMillan
Audrey Assad
A Ragamuffin Band
Norm Stockton Group
...and more!
CMS@theChapel will also feature
Seminar
for the Arts...
film, drama,
workshops for

graphic design,
painting, photography

C a lifornia eve
nt... SEPTEMBER 16 & 17, 2011
our N o rt h e rn ur from
o re (less than an ho at Cornerstone Fellowship, Livermore, CA
Li v e rm
now in San Jose...)
Oakland &
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OCTOBER 14 & 15, 2011

at Scottsdale Bible Church, Scottsdale, AZ
f the
th e b e a u tiful oasis o
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at Overlake Christian Church
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g sh ip e v e n t... this will
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MAR 26, 2011at Our Savior Lutheran Church, Tacoma, WA
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your team
training for with Brenton Brown
 Walking through suffering
and trials has a way of
stripping away anything
that is not real in your life,
and depending on our
response, that vessel can
come out of the fire with a
faith like pure gold. Such
is the case with Laura Story
and her husband Martin.
Her new project “Blessings”
is a true and precious
sacrifice of praise. Read on
to see what I mean...

20 MARCH/APRIL 2011 WORSHIPMUSICIANMAGAZINE.COM

 Aimee Herd: Laura, the last I spoke
with you was back in 2008. Your
husband was just recovering from
brain surgery, and you’d been
through a really rough time. How is
he, and how are things going now?
Laura Story: He is doing so well. We
have been amazed at the amount of
healing that has taken place in his
body. We’re so grateful to the Lord,
and all the doctors. He’s at a place
where all his CT scans and MRIs look
good. But, he’s still left with a couple
of different disabilities that are still
hard.
I think, the last time we talked, I
naively thought, “I’ll just take a year
and then things will be okay...” That
has not been the case at all. We are
learning to adapt to a new normal...
life with a disability. It’s a whole
new complexity of life, but you
know God has given us grace for
every step of it.
AH: Just within that context
I was previewing your new
album Blessings (Releasing
on April 11) and the title
song from it; that’s a song
that I think a lot of people
who are experiencing
similar challenges will
really identify with.
The lyrics are really
profound... “What
if your blessings
come through
raindrops, what
if your healing
comes through
tears, what
if a thousand
sleepless
nights are
what it takes to know You’re near?”
LS: I wrote that while driving down
the interstate one night, my husband
was with me but he was asleep. Our
lives are so busy, but every now
and then you have just a moment of
silence, and you begin to introspect
and think back over the past months
and year. This was one of those
moments. If you had asked me right
after Martin had his brain injury,
what I thought life would look like five
years out, I would’ve never expected
this. I’m sitting there thinking about
all of it, and realize that I really am in
a place where I have more questions
than answers. So, the chorus, with
all those “what if’s” are real. The
lines of the chorus were coming to me
as I was looking out at the road that
was starting to curve, and I thought,
“God, your Word says it’s okay to
pray for blessings, but instead You
pour out all this other stuff and I’m
more confused than ever!”
But then it came to me...although it’s
been hard, the intimacy with the Lord
over the last four years is like nothing
else that I’ve ever experienced. And,
the sweetness in our marriage that
has come from Martin and I having
to rely on each other and help each
other through this is like nothing we’d
ever experienced. Now I’m looking
at all these things in my life that I’ve
labeled “trials,” experiences that I’ve
labeled as “bad.” And it’s like the
Lord broke it down a little for me and
said, “But look at it closely, Laura,
look at how I’ve blessed you in the
midst of that.” It’s the Lord stripping
away everything—sometimes He
needs to do that in our lives. He
is the only sure foundation that we
have. Before [any of this happened]
WORSHIPMUSICIANMAGAZINE.COM
I would have said that I believed that,
but now I can say we’ve experienced
it—we’ve been stripped down to the
point where He was all that we have
left. I can tell you as a fact that He
is reliable, God is real and He really
does walk with you every step of
that journey. Where before those
promises were theories, now they
have been tested and are fact in my
life.
Our main story when we go travel
anywhere, is how we have learned to
praise God in the midst of the storm.
That’s what we talk about and share
in song and story, and through that
we have had more opportunities to
share the Gospel than ever. We’ve
had more opportunities to minister
to hurting people; I’ve prayed with
hundreds of people all over the
globe. It’s not because God gave me
a spotlight, but it’s because He gave
me a platform of a life of suffering
that people will listen—because of
what we’ve walked through. We as
Believers, talk about our need for a
Savior, but we don’t want to come
across as being “needy,” but God
took care of that! For at least a year
and a half, Martin and I were the
neediest people I knew, and we relied
on the Body of Christ for everything.
It started out as embarrassing, but it
became such a good thing because I
needed to see my need for the church,
and even more, my need for God.
AH: Until we come to that place
where we see our need for Him, we
haven’t really reached that true and
vital relationship.
LS: And, during those times when we
were in crisis mode, Martin was in the
hospital, and I wasn’t able to get to
MARCH/APRIL 2011
MAR/APR 2011 WORSHIPMUSICIANMAGAZINE.COM 21
21
 Blessings through the Raindrops with Laura Story continued

a story that’s not of a God who is

a policeman in the sky, but a God
who—if they choose to turn towards
Him—they’re going to find has loving
arms ready to embrace them as they
are.

AH: I don’t have any disc info, so tell

me, did you write all the songs on
“Blessings”, or also co-write some?

LS: I wrote about half of them, and

did the other half with other people.
I have a network of [songwriting]
friends; I wrote one of them with
Mac Powell (Third Day), and Brenton
Brown... So, I got to write with a lot
of fun people who are songwriting
heroes to me. It was neat to get to
do that.

AH: Last year you toured with Aaron

Shust and Downhere, with your new
album coming out, do you have plans
church, read the Word or even pray everyone else. He is a living current- for a new tour this spring?
regularly, it made me realize that day Job. His memory loss affects his
God is the sustainer of my faith. It everyday life, but what he always LS: Actually no, we’ve had so many
says He is the Author and Perfecter of does remember is God’s goodness. people asking us to do worship
our faith, and I’ve felt that more than Not that he doesn’t have rough days, conferences and women’s events
ever, and He is more real than ever. but he somehow keeps that in front that we haven’t had time to tour. I
I certainly would never have asked of his face; that God has a plan for guess that’s a good problem to have.
for any of this, but I honestly think his life and He is a trustworthy God. ...Maybe in the fall. But, we get asked
we wouldn’t trade it for anything; the And that whatever He’s allowed in to come lead worship and teach, and
things we’ve learned are priceless. his life, God’s promise is that He’s share about what it means to be a
going to use it for good. worship leader and still be walking
AH: Does Martin go out on the road through hard things in life.
with you? AH: Laura, talk about “The Prodigal
Song” from your new album... AH: So, how DO you do that, Laura?
LS: He does, yeah. His disabilities As a worship leader you have to go
he’s been left with are a vision LS: It’s such a gorgeous story. It’s out on stage and lead people into the
deficit and a [short term] memory not just a son who runs off and presence of God, and yet in your life,
deficit. He’s just now gotten fitted acts just like we do (laughs), but it’s you’re walking through a very hard
with special glasses that will help really more about a God with an place.
with his vision. Memory-wise, it’s a relentless love. I love the part in the
slow process. So, he hasn’t been story where it says, when the son was LS: It’s a great question... Anything
able to work or drive. We spend an still a long way off, the father saw you go through, any change,
enormous amount of time together; him. You know the father must have adrenaline can get you through the
it’s been a huge adjustment for both been watching and waiting [for his first part of it, I think. Then, when
of us, but man, it’s been sweet. return]. I know so many people from the dust settles, you realize, “Wow,
high school who, for one reason or this really isn’t getting any better.”
God has allowed this to happen to another, have decided to live life on When I got to that place, I was a
Martin, I’ve had a front row seat and their own [without God] for a time. I little frustrated with God about it. I
I’ve written songs about it. And during really want them to know that God thought I either need to get a new job,
concerts, Martin is always in the truly waits and watches for their or I have to figure out how to worship
crowd worshipping right along with return. I want lost people to hear God even in the midst of this. I went
to the Scriptures and they came alive;

22 MARCH/APRIL 2011 WORSHIPMUSICIANMAGAZINE.COM

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 Blessings through the Raindrops with Laura Story continued

upright bass in a while, but every

now and then I get to.

AH: What is the primary instrument

you gravitate toward for writing
then?

LS: I go back and forth between piano

and guitar. But usually, I don’t write
with anything. I just get a pen and
paper and try to visualize it in my
mind. I don’t want to limit my mind
by what my fingers can play, if that
makes any sense. I’d rather have it
wide open and establish it, and then
go back and try to play it.

AH: That’s an interesting way to do

it. Laura, in closing, I’d like you to
I began seeing that scene [of worship whether or not I was going to judge tell me two things: the word that God
amid suffering] everywhere. God based on my assessment of my gave you that kept you through the
situation, or whether I was going to darkest times; and the promise He’s
AH: Oh yeah, especially in Psalms... assess my situation based on what given you for the future.
I’ve always held to be true of God.
LS: Yeah, where King David is saying, As I thought about which one is going LS: I’d say the word He gave me was
“I WILL bless the Lord at all times,” to rule in my heart; my situation or this one Scripture when Martin was
not “I feel like blessing the Lord at all my God, I looked back and saw in the hospital, from Psalm 27:13 that
times.” And, “...even though I walk which one was really reliable. You says, “I would have despaired if I
through the valley of the shadow of realize that circumstances are always had not believed that I would see the
death I will fear no evil, for You are changing, but God has always goodness of the Lord...” That’s the
with me, Your rod and Your staff, they proved to be faithful. That’s how I’m verse that’s held me up through the
comfort me...” From Genesis 22, learning to worship in the midst of midst of it, like I’d begin to despair
where Abraham goes to sacrifice his difficulty. and God would remind me, “Oh
son Isaac; it’s the very first time the no, remember? You’re not going to
word “worship” is used in the Bible. AH: That’s really good; it’s all a matter despair.” And, I’d say the promise
Abraham tells his servant, “I and of perspective—God’s or ours. I love for the future is—that God does
the lad are going to the mountain to what you’ve just shared...when is the promise a future. In Jeremiah 29:11,
worship and then return.” He’s going book coming out?! God says, “For I know the plans I
up to sacrifice Isaac and he uses the have for you—plans of prosperity not
word “worship,” and I’m like...that LS: (Laughing) It’s so funny, because calamity. And then, what I label as
doesn’t make any sense! Except, the I’ve thought about it. But, I’m too calamity, I have to stop and say, “no,
more you dig into it, you see it was busy with this CD. I think I probably that’s a wrong assessment of that.”
his act of obedience to God, and that will write a book, though.
was his worship. You see it in Romans One of the songs I wrote on the new
12, where it says to “offer your bodies AH: This is a little off-subject, but I CD is called, Faithful God. The chorus
as a living sacrifice, holy, acceptable know you started out playing string is just, “Faithful God, every promise
to God, which is your reasonable bass way back, even before you kept, every need You’ve met, Faithful
act of worship.” I started finding out were in Silers Bald, do you still get to God. That’s just it. Like the old
that worship had so much less to do play that once in a while? hymnwriter said, “strength for today
with a fuzzy happy feeling, and so and bright hope for tomorrow”—
much more to do with a surrendered LS: I do. Not this past fall but the one that’s what we ask Him for.
life. At the end of the day, no matter before, I was on the Third Day tour.
what you’re walking through, Jesus is Mac Powell has a little side group
worthy of our worship. called Glory Revealed, and I played For more information on Laura Story,
with them. It was really fun, because visit her website at:
One thing I truly had to decide was I hadn’t gotten to do anything with www.laurastorymusic.com

24 MARCH/APRIL 2011 WORSHIPMUSICIANMAGAZINE.COM

 Grand Theatre

• Offset soundhole provides more sound for the player to hear

• Fingerboard extension does not touch top, allowing upper bout to vibrate more freely.
• Hybrid X style bracing,and “Wickstrom” sound surface patch bracing system allows bracing to be
lighter and stronger.
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secures the best tone transfer through the top to the neck.
• Compensated bone saddle ensures correct intonation
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capabilities of soundhole mic).

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AVAILABLE AT
 SONGCHART

WHAT A SAVIOR
Jeremiah Jones
©2009 INO Music (admin by Integrity Music)(BMI)

INTRO: F# F# D#m7 C#/E#

F# F#
Atoning sacrifice You are the Shepherd King
Improving Musicianship | Inspiring Talent

B9 B9
Blessings

Keeper of this life You lead us by still waters

through the
Raindrops

D#m7 C# B9 C#/E# D#m7 C# B9 C#/E#

Hallelujah, You are Savior Hallelujah, You are Savior Chrissy Shefts
The Passion of Playing

Product

F# F#
The Freedom and Restoration of Review:
Broken Walls PRS Sweet 16
Guitar Amp Head
Disciple
An Interview with Kevin Young
MARCH/APRIL 2011
Volume 9, Issue 2 JAN/FEB 2011
Volume 16, Issue 1 Selective Hearing:

Beginning and the end You are my only hope

03
Record Reviews Product Review 01 Phil Keaggy Trio
Know Jesus Collective * Brenton Brown * Parachute Band Wickstrom Grand Theatre
Acoustic Guitar
John Francis • Third Day
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CHORUS BRIDGE
F# B9 C#/E# F#
Jesus, You are stronger You are the way, the truth and the life
B9 B9 C#
More than any other You are my joy and salvation
D#m7 C# B9 C#/E# D#m7 G# BM7
Hallelujah, what a Savior Stood in my place, taking my shame
F# BM7
Jesus, You are higher Upon Your shoulders
B9
My soul’s deepest desire
D#m7 C# B9 C#/E#
(second time C#)
Hallelujah, You are Savior

26 MARCH/APRIL 2011 WORSHIPMUSICIANMAGAZINE.COM

 RECORD REVIEWS
KNOW HOPE
COLLECTIVE:
Self-Titled
TRACKS (personal picks bolded)
1. Attention
2. Sanctuary
3. Build Us Back
4. Hands and Feet
5. We Remember
6. Ocean Floor
7. Spirit Speaks
8. Jealous God
9. Good Life
10. Just To Be Here
This album, primarily fronted by Audio
Adrenaline singer Mark Suart and
bassist Will McGinnis, is an unusual
effort in the way that their intent is to
have musicians and vocalists journey
in and out of this collective on an
ongoing basis. Keeping the lineup
in flux will maintain a steady stream
of new creativity as well as personal
testimonies and perspectives.
This first effort will likely leave
you looking forward to subsequent
releases. The music and lyrics are
well-matched and thoughtful. Though
the songs come from a personal place,
they’ll be easily adapted by anyone
wanting to use these songs in their own
place of worship. Some are geared
more congregationally than others,
but most likely you could find a place
somewhere in your church service for
all of the songs on the album.
One of the things that is a running
theme throughout the songs is a sense
of honor. “We Remember” in particular
is recalls specific reasons to remember
God – things to remember from the past
that continue to give us hope for the
future. Speaking of remembering, the
new songs on the album are mixed in
with songs from previous releases like
“Hands and Feet” and “Ocean Floor”.
They’re different enough to keep them
interesting but definitely recognizable.
This is a well-written album, mixed
well and mastered well. I look forward
to seeing what else this ever-changing
group has to say in the future.
Average person could learn/participate on the first hear
Can be learned/adapted by a band of average skill
Lyrical creativity and integrity
Know Hope Collective Self-Titled
Brenton Brown Our God is Near
Parachute Band Love Without Measure
Brandon Heath Leaving Eden
Lakeside Live God Who Saves the World
Daniel Bashta The Sounds of Daniel Bashta
highest marks
30 MARCH/APRIL 2011 WORSHIPMUSICIANMAGAZINE.COM
By Heidi Todd
BRENTON PARACHUTE BAND:
BROWN: Love Without Measure
Our God Is Near 1. Gave It All
2. My Constant
1. Our God Is Mercy 3. Peace On Earth
2. Joyful 4. You Remain
3. We Lift You Up 5. It’s You
4. Glorious 6. The Redeemed
5. His Name 7. Saviour Of The Broken Heart
6. Arise And Sing 8. You Got Me
7. All I Want 9. Anthem Of My Heart
8. Higher (Empires Fall) 10. So Much More
9. Good News 11. Sweet Surrender
10. All For You 12. Soar
It’s always my habit to put a new cd Parachute Band,
in my car, computer, etc. to listen to it out of New
repeatedly and get a good “read” on it. Zealand has been
Not all of the cd’s I review get imported at it for a long
into my iTunes list, but this one definitely time (since 1995)
did. It’s funny because it makes me a and even though
little nutty when my husband gets a cd the original band
and plays it over and over. But I found members have
myself doing that with this cd – you since handed it
want to hear it repeatedly to mine out over to the next generation of members,
his careful lyrics. its distinctiveness lives on.
The cd starts off with a great driving
song “Our God Is Mercy” and keeps the No doubt, Parachute Band’s style
vitality going throughout. The majority would be most at home in a youth
of the songs are a medium tempo, but group environment; they capitalize
he makes sure to create breathing room on super high energy and a digitized
so that it doesn’t become one-note. He sound. The lower marks I put in regards
also brings in other vocalists to round to being easily adaptable by a band of
everything out. average skill isn’t a strike against them.
They’re expressing themselves musically
It’s good to have a steady stream of in a way that not everyone could pull
songs from Brenton, who keeps his off, but I don’t get the sense that’s what
musical influences broad. His voice is they’re trying to do. And with a creative
distinct, but he seems to come from a arranger type, you can figure out a
consistently creative place in how he
way to reinvent these songs even with
puts a cd project together. I’ve heard minimal instrumentation.
him live a couple of times and have
share some of the same acquaintances If you love Martin Smith, you’ll be
and his reputation is very sound. He thrilled to hear him appear on “It’s You”,
brings a consistency and maturity to a great fit for his distinct voice. And
the table that comes through in his speaking of voices, the primary singer’s
songwriting. His friendliness and voice is strong. He’s at home at the
friendships with fellow songwriters is high-push faster stuff as well as the quiet
to his credit and shows in his ability to lingering type of songs.
keep things fresh. Many of the songs have a pop sound
The cd release is in March so grab and feel but there are many anthems on
yours; you’ll find plenty to work with this cd that transcend that style. Buy the
if you’re a worship leader and you’ll cd for your youth or your own kids but
enjoy being led into worship as a listen closely because you’re going to
listener. start to love a lot of these tracks. They
did a great job putting together songs
Overall impression that are unique and true to their own
style while giving us plenty to worship
the Lord by.
BRANDON HEATH:
Leaving Eden
1. Leaving Eden
2. Your Love
3. The Light In Me
4. Only Water
5. Stolen
6. Might Just Save Your Life
7. It’s Alright

8. It’s No Good To Be Alone
9. Now More Than Ever
10. The One
11. As Long As I’m Here
Writing reviews
for this issue
of Worship
M u s i c i a n
Magazine has
been a cake
walk, due in part,
to albums like
Brandon Heath’s. I’ve tremendously
enjoyed this and the rest of the cd’s
in this issue; get ready and make
room for adding a bunch of new
music to your repertoire! Each time
a new cd comes in the mail I’m both
eager to listen, while at the same
time, bracing myself because I never
want to say anything but great things
about any artist. Brandon left plenty
of room for great things to say on this
album.
One of the things I appreciate
about his approach is that he has
a restrained intensity; he doesn’t
overdo the energy thing. You can
sense the earnestness of what he’s
saying and the instruments behind
him without being overwhelmed or
WORSHIPMUSICIANMAGAZINE.COM MARCH/APRIL 2011 31
distracted by it. If you’re dialed in and
paying attention to the lyrics, you’ll get
a lot out of them, but this cd is just as
enjoyable to put in your car on a long
road trip and have in the background.
He understands how to imbed a “hook”
in songwriting but doesn’t forsake the
message for a good hook.
Some of the songs lean more toward
story telling, which isn’t a bad thing,
it helps you know him as an artist a
little better. You’ll have so much to
work with out of this album to use in
your own setting. And even though
many of these tracks will likely appear
on Christian radio, I can’t help but like
them. Some of them are contemporary
and “poppy” but not so much that they
lack personality and poignancy. It was
really hard to narrow it down to just two
favorites on this cd. Thank you Brandon
– keep albums like this coming!
LAKESIDE LIVE:
God Who Saves The World
1. God Who Saves The World
2. Outrageous
3. Love Came Down
4. Holy God
5. No Other
RECORD REVIEWS
6. Old Rugged Cross (Thank
You Lord)
7. The Undiscovered
8. Skeleton Bones
9. You Are Good
10. Absence (Jesus)
If you’re as big
a fan of Gabriel
Wilson’s music as
I am, you’ll want
to go grab this cd.
When I heard that
he had become
the worship leader
at Lakeside Church, I couldn’t wait to
get my hands on this release. It was
curious to see how he was able to
transform such a distinct former sound
into a setting like a large church. Well,
he did it. You can hear the strains of
his musical preferences but they don’t
overwhelm the setting; he blended the
two realities very well.
Several years ago at one of the
earlier Christian Musician Summits,
Gabriel jumped in on a Q&A time in a
workshop. Even though his band at the
time was very edgy and had amazing
stage presence, he had a great
perspective and priority on worship.
He didn’t forsake the focus on honoring
 RECORD REVIEWS
and revering God for the sake of the
“show” and it’s great to see that still
alive in his worship today.
Many of the songs are either co-written
with other writers (like Paul Baloche) or
borrowed from such greats as Brian
Doerkson, David Ruis and John Mark
McMillan, to name a few. Fellow
vocalists like Elisa Wilson help to round
out a great worship album which will
be a blessing to add to your worship
library. You’ll be singing along before
you know it.
DANIEL BASHTA:
The Sounds of Daniel
Bashta
1. Dreamers
2. Freedom Calling
3. The Sound
4. Unlock My Roar
5. Potter’s Wheel
6. He’s Like A Lion
7. Like A Lion
8. Pursuit
9. Offering
10. With Everything
11. It’s Happening
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32 MARCH/APRIL 2011 WORSHIPMUSICIANMAGAZINE.COM
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12. Heaven
13. Awakening
14. Isaiah 61
If you haven’t heard of Daniel Bashta,
make sure you’re wearing a seatbelt
when you sit down to listen for the first
time. Daniel is a true artist at bringing
out the rawness and soverignty of God.
The first song I ever heard of his was a
few years ago and even though it was
very slow and quiet, there were fires
raging underneath.
Song titles like “Unlock My Roar” and
“Like A Lion” are great descriptions of
Daniel’s intensity. His a-typical voice
drives home a-typical, highly creative
lyrics. He incorporates unusual
techniques in his music, sometimes
including spoken word. Everything he
does has a perfect layer of grittiness to
it.
This music is anything but restrained;
however, neither is it hype. There’s a
difference and you will feel it. You can
also perceive Daniel’s global musical
viewpoint, which was confirmed when
I read his story online. His reach in
musical expression is not constrained
by a purely American experience even
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though he was born and now lives in
America. He has traveled and lived
abroad in multiple countries and it
shows.
This is not a quick-listen cd; it’s a meal,
not a snack. So listen to it all at once
when you can but revisit it often to get
the full wealth of this album. Epic effort
Daniel and band! Thank you for the
challenge and inspiration.
Heidi’s background is
primarily in worship and
production, joining her
first worship team at age
twelve. Having been
on staff at a Northwest church since
2001, she is now works as assistant
to the Northwest Foursquare District Su-
pervisor in Tacoma, WA.
This fulfilling role has made it pos-
sible for her to pursue her passion for
being in multiple churches, working
with worship and production teams
and sharing those churches’ innova-
tive ideas with as many other churches
as are interested through her website
www.nomadicreative.com.
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 FOH ENGINEER
By John Mills
M7CL Tips & Tricks
In this article we are going to hit a bunch
of tried-and-true tricks you can use on the
Yamaha M7CL. Why am I only highlighting
the M7CL? Good question. But it begs a
very simple answer. It is by far the single
most popular digital soundboard that
churches use. It’s also a very respected
board among touring groups. All that being
said; most of these tricks can work on other
digital consoles, and 98% of them apply to
the M7CL’s baby brother, the Yamaha LS9
as well.
Presets: The beauty of digital consoles
in general is the ability to make presets.
Yamaha calls them Libraries. I make a library
entry for every one of my inputs as well as
every one of my players. For instance, I
not only have an acoustic guitar EQ preset,
I have multiple ones labeled ACOU-Dan-
Taylor410, ACOU-Dan-Gibson, ACOU-
Steve-Washburn, etc. Then, no matter what
player is on the team, or which one of his
guitars shows up with him on Sunday, I have
a good starting point for their EQ. I also do
the same for Compressors.
Quick second EQ / Compressor
setup: I’ve had a few times where I’ve
needed a very specific EQ or compression
change on a certain instrument. Using
“Channel Copy”, I duplicate the channel to
the next adjacent channel. Then I assign
the Head Amp to the same inputs as the
original channel. For instance, let’s say I
wanted two different acoustic guitar sounds
during a song. I already have the acoustic
guitar set up on channel 14. I “Channel
Copy” channel 14 to channel 15; then I
SEL channel 15 and assign the preamp from
it to preamp 14. Get the picture? I have
Preamp 14 on both Faders 14 and 15.
Then I make the radical changes to channel
15 and I cross fade from 14 to 15 during
that portion of the song.
Reset EQ Gain: I use this feature a ton.
If you cut or boost something on a channel
EQ, just push the Q and Gain encoders at
the same time on that band, and it will reset
to zero.
Recall Safe: I always “Recall Safe” all
the parameters on my pastor, announcement
mic, iPod, video, and CD channels.
That way if someone is talking on the
Announcement mic, or I am playing music
before the service from my iPod, etc, I can
recall a scene without affecting what is
going on.
Recall a Scene while someone is
talking: What if you do not have the mic
in “recall safe”, and you need to switch
scenes? I used to wait for the person to take
a breath, or for the audience to clap, and
would then hit recall. This always made me
34 MARCH/APRIL 2011 WORSHIPMUSICIANMAGAZINE.COM
very nervous! There was no way to be
sure what the new scene sounded like,
or if there would be a volume change.
Worse yet, what if the fader in question
was muted in the next scene?! Try this
simple trick. Hold down SEL on the
channel you want to temporarily “safe”
while you recall the scene. That channel
is temporarily “safed.” Which means the
channel you are holding SEL on will not
change to the parameters in the new
scene when you hit Recall. After they
stop talking and another person in the
new scene you recalled starts talking, you
can safely hit recall again and that fader
will be updated.
Pre-show Music: I use this trick on
pre-show music coming from my iPod.
Feed the Announcer or MC mic to the
side-chain input on the iPod channel’s
compressor. Then if someone needs to
make an announcement, and I am not at
the console, all they need to do is talk on
that mic and the iPod automatically turns
down. The announcement mic needs to
be in the same group of 8 channels that
the iPod is for the side-chain to work.
Telephone Call Interface: It is
annoying to have the person on the
phone try to continue talking while the
local mic is talking. How about this trick:
Feed the local mic into the side-chain
on the phone interface compressor. Set
the compression pretty hard, and when
the local mic talks, the phone audio
compresses, or gets “ducked” behind the
live mic.
User Define Keys or UDKs: The
best part of the M7CL is the 16 UDKs. I
use them for all kinds of things depending
on the type of show I’m doing.
Bookmark – This is arguably the
most useful and customizable button on
the board. I use this to bookmark my
house Graphic EQ, Vocal reverb and
Vocal delay effects pages. That way I
can get to them quickly. First assign the
BOOKMARK function to one or more
UDKs. Then view the desired page.
Now, hold UDK button for 2 seconds
until it lights up. Every time you click that
button you will return to the page you
bookmarked.
Mute ALL – make a mute group and
assign ALL channels to it. Then put it on
a UDK. That way if you need to mute
the whole console because “something”
is feeding back, you can just hit that one
button. Just don’t put it right next to the
button for the next tip!
Tap Tempo - You can assign a UDK to
an effects processor.  I use the Tap Tempo
to set the delay time on my Vocal delay
effect, and target it to the effect processor
with a delay effect loaded. Then in the
effect (mono delay, for instance) you
should see a “sync” parameter. Turn this
on. Now, set the note value to a whole
note. When you tap a tempo along
with the beat of the song (one tap per
measure) using this UDK, it should affect
the delay time of said effect processor to
be in sync with the music. 
Set to Nominal – If you hold down
this UDK and select a fader or an encoder,
it will reset itself to unity.
Mute FX Sends – Make a mute
group, but instead of muting the FX
return faders, put the mute group on the
aux sends that are feeding the inputs to
your effects processors. This way when
you mute the effects, the effect decays
naturally and doesn’t sound like you
muted it.
Sends on Fader – Use this one to
select the aux send you have assigned
to your worship leaders ear monitors or
wedge mix. When you hit this button, the
console faders “flip” to show you what
you are sending down that aux. This
is very handy when using the M7 as a
monitor board, or for the monitor sends
you are mixing from FOH. Assign each
mix to a button and flip between monitor
mixes very quickly. Click again to return
to your FOH mix.
One last trick, just in case you’ve
been hiding under a rock and missed
it. Yamaha released an iPad app for
controlling the M7CL. Take a trip out to
the Yamaha website and/or iTunes and
get the Stage Mix app for your iPad. It
gives you a very slick interface to control
the console remotely.
And on a related note… if you’ve been
struggling with how to justify an iPad
purchase… my friend Chris twitter(ed) the
following: “Thank you Yamaha Stage
Mix for allowing me to sit with my wife
in church again.” This might be the first
ever piece of technology she really does
want you to get!
Next month we’ll cover a couple of
analog console tricks, and pretty cool
one for you digital console users on how
to warm up your digital sound.
‘Til next month,
John
John is an 20-year vet-
eran of the road and a
graduate of the school of
hard knocks. If you are look-
ing for down to earth train-
ing for your volunteers why not send John
an email. You can contact him through
www.TechTraining101.com
 MINISTRY + ARTISTRY = PROFITABILITY? CREATING YOUR MAP™
By Scott A. Shuford
Promotion: Social Media
Last time, we talked through an
overview of the Four P’s: Product,
Price, Place and Promotion. In the
next several columns, we’re going
to dive more deeply into Promotion,
covering Public Relations, Advertising
and in this column, the basics about
Social Media.
Social Media is one of the newest and
most valuable tools in your Promotion
toolbox. I’ve been involved from
very early on, starting in 2007 when
I brought the largest Christian social
network into my media group family
at FrontGate Media. After a year of
watching clients not understand how
to use social networks, we started to
provide Social Media services.
Social Media started with an
explosion of online community sites
including today’s leaders: the Facebook
community, Twitter’s micro-blog service,
and YouTube’s video sharing site.
There were many, many different Social
Media sites bringing together people
who had similar interests or connection
points. Obviously some caught on
more than others. MySpace grew to
become the early leader, especially for
music artists, and now has fallen far
from its high point of glory, becoming
almost irrelevant.
WHERE DO I START?
Today, most of us
should focus mainly on
Facebook and Twitter
for communication,
and YouTube for video
content. You also should
consider Christian
specific sites including
the online community
ShoutLife.com, and for
videos, GodTube.com.
For more traditional
business purposes, I’m
also a big believer in
LinkedIn. There are
many more Social
Media or related
sites you can get
involved with including
MySpace, iLike, Tumblr,
Friendfeed, Blip.tv,
Vimeo… the list goes
on, but for most of us,
we will likely only have
enough time to do a decent job with
Facebook, Twitter, and YouTube. Once
you have some experience with those,
36 MARCH/APRIL 2011 WORSHIPMUSICIANMAGAZINE.COM
then certainly dive into ShoutLife and
GodTube. Start with the leaders: the
audience there is enormous and your
audience probably already is active
there.
FAN DEVELOPMENT
Our Social Media strategy at
FrontGate is based on one idea: Fan
Development. If you approach all of
your Social Media activities with the
idea of Fan Development, then you
will succeed. Social Media is all
about developing a relationship, and
in your case as a Worship Leader, it’s
a relationship with fans of your music.
If you don’t like the term “fan,” then let’s
say with the people who have been
touched by your music. Your “friends”
or “fans” want to be more involved with
you. Social Media allows you to reach
a lot of friends instantly and consistently.
This is something we’ve never been
able to do before! You can now have
DIRECT contact with your fans anytime
from any place!
WHAT MAKES A GOOD POST?
Social Media can be a total waste of
time. If you’ve spent any time on Twitter
or Facebook, you’ve seen someone
stream a bunch of wasted posts. If all
your posts are about laundry, eating
and television, you probably aren’t
developing fans. You posts should help
your friends to connect just a little more
to you. A GOOD post gives your friend
or fan something of value in connecting
with you. A GREAT post gives them a
direct interaction with you. For example,
I think you can see the difference in
value between the following posts:
“I’m working on the album cover for
my new album today!” vs. “I picked
the album cover for new album today!
See it at http://www.jadonlavik.com”
vs “Help! I need to pick my new album
cover today: what do you think? Vote at
http://www.jadonlavik.com.”
Social Media is not just a short or
text based form of advertising. Do not
just push out ads for yourself. Share
things about you, just like you would
in any relationship. It’s great to help
your fan know all about your music. It’s
also going to connect you more deeply
with different fans when they find out
that you love “It’s A Wonderful Life” or
that you are a big Chipotle fan, just like
they are.
HOW OFTEN?
To be effective, it is generally accepted
that you want to post relevant content
approximately five times per day. Just
doing 1-2 posts per day is like tossing
a pebble in an ocean. Doing more
than 5 posts per day may get people
tired of you, and will probably result in
poor quality posts as you try to come
up with stuff to say. Post as often as you
can deliver something of value.
TOOLS
My favorite and FREE tool for
managing my Social Media accounts
is Tweetdeck. It allows you to manage
all your key accounts in one piece of
software to view, post and schedule
future posts. Look it up on
www.Download.com.
For advanced Social Media users,
check out Twubs excellent hashtag
content aggregator at
http://twubs.com/twubs.
There is so much more that I can say
about Social Media… I think I’ll have
to write some additional blog articles at
www.FrontGateMedia.com/blog.
When I do, they will be under
“Marketing Tips.”
Stop in and friend me on Facebook
at:
www.Facebook.com/ScottShuford &
www.Facebook.com/CLNetwork.
On Twitter, you can find me at:
www.Twitter.com/ScottShuford &
www.Twitter.com/CLNetwork .
So far in the MAP, we’ve talked
about your Mission, Fan Development,
the Non-Profit option, God’s Growth
Strategy, the Four P’s, and now Social
Media. Next time we’ll go deeper into
Promotion with Public Relations. Until
then…
Scott has led classes
for us at NAMM and
the Christian Musician
Summit. He has been
featured in Adweek and
is the CEO of FrontGate Media,
the #1 culture-engage media group
reaching the Christian audience
(www.FrontGateMedia.com) and is
the co-founder of Creator Worship:
online radio for worship leaders
(www.CreatorWorship.com). Email
your comments or questions to Scott@
CreatorLeadershipNetwork.com
 ...
Brenton Brown, one of the most gifted worship leaders and writers at
work today, returns with a new album full of standout songs that will
strengthen and inspire the church the world over.
He has brought the church top worship songs like, “Everlasting God,”
“Adoration,” and “Our God Saves.” Our God Is Near contains 10 new
worship songs for “the Maker of the universe.”

The City Harmonic is what you get

when you mix a rock band with sweeping
symphonies, captivating anthem-like choruses,
concert hall orchestras, Brit-rock influence,
scripturally rooted lyrics, and that
singing-round-the-campfire-feeling. Instantly
addicting, they express profound truth and
worship in simple and musically creative ways
that will resonate with real people. Nothing like
your ‘typical’ idea of worship band.

www.kingsway.co.uk www.brentonbrown.com www.thecityharmonic.com

 AUTHENTIC WORSHIP
By Michael Gonzales
Developing Talent
When is it time for new players and
singers to become part of a worship
team? One of the most difficult tasks
for a worship leader is making tough
decisions that involve people.
remember when I was asked to take
over a worship team at a church and
that first meeting was uncomfortable.
For one, several worship team
members didn’t know that the worship
leader who had been there for years had
abruptly resigned. When they showed
up for rehearsal, they discovered
moi! I’m surprised none of them had
PTWLS (post traumatic worship leader
syndrome), because I came in with a
whole new operating system and new
songs but one of the ways I won them
over was how I developed new talent.
First I had to understand who had
giftings in what areas. I quickly
discovered who were my soloists,
who were my prayer people, who
38 MARCH/APRIL 2011 WORSHIPMUSICIANMAGAZINE.COM
could sing lead, and who should be
on rotation. Those people who could
sing, I would let them lead a church
service. What? Never been done
I before. They all thought that was my
job. No, it was my job to lead and a
good leader raises others up to lead as
well. Second, I started looking at the
younger up and coming players and
singers from college and high school.
I knew that the college musicians were
not going to stay in college all their lives
(well, most). So I realized there was a
pool of talent waiting to be developed
from that group. There were also a
couple of prodigies in the high school
group who couldn’t wait to be on the
main worship team.
What I did was invited them to
rehearsal and told them to bring their
instrument and play with us. One of
my guitar players, for example, was
assigned to mentor an up and coming
player. This arrangement worked out
well until every week the young guitar
player kept asking, “Am I going to
play this week?” One thing I learned
quickly is to communicate every detail
with your pastor. Why? Because he
usually knows things about people that
I don’t. I did put in a young player
once without consulting the pastor. I
didn’t know the young guy was seeing
a staff counselor for a serious offense
and the pastor later told me he felt
uncomfortable seeing him on the
worship team in front of the church.
After talking with the young man he
understood, continued to show up for
practice, and eventually was put into
rotation. This was also a good test. I
wanted to see how committed he was
and if he would be willing to submit to
authority.
Singers are dealt with the same way.
Who has lead singer potential? Are
they willing to be faithful to show up
for rehearsal? Are they learning the
melodies and the lyrics? I would
start by putting them into rotation then
eventually making them regular singers.
If your church has room for only four
lead singers each week and you have
12 strong singers, I recommend putting
them all on regular rotation. There is
nothing in a rulebook that says you
have to have only four people. Maybe
have five or six. I scoff at the person
who says, “Michael, four singers is the
optimum vocal presence to fill the four
parts and besides, that’s the way we’ve
always done it.”
The final note is regarding what you are
missing. If you only have one mediocre
drummer, then ask your worship team
do you know of anyone else who
can play drums? Usually, if they are
true musicians themselves, they know
several people. What if that person
doesn’t go to your church? It doesn’t
hurt to ask, especially if they are not
serving anywhere. What if that person
isn’t a believer? That’s a tougher one,
because I came to know The Lord by
being on a worship team. You have to
have discernment and trust that God’s
Spirit will guide your decision making
in that area. I know one thing for sure,
whenever I encountered someone on
one of the many church worship teams
I’ve assisted and I find out they are
not a believer, I just love on them the
same as I would anyone else. Would
I be judgmental towards that person?
Not in the least. I do know if it were
my worship team member that person
wouldn’t be leading the Bible Study.
Today there are many opportunities
to develop talent. Invite those people
whom you are considering to develop
to your outside events like barbeques,
picnics, and outreaches. Lead by
example and love every member of
your team as Christ loves the church.
Michael Gonzales, Ph.D.
Professor, Biola University
mike.gonzales@biola.edu
 GUITAR GRAB BAG

By Doug Doppler

Sound Advice CONCLUSION

As much as we love gear, it always
seems that we’re just not quite “there”.
With so many options, it can be more
of a frustration than a joy finding a
set-up that allows us to focus more on
God than on our gear. This time around
I’m going to take a stab at addressing
some of the strengths and weaknesses
of the various types of rigs out there,
and hopefully serve you in finding the
right rig for your Church in the process!
MODELING
I live with hundreds of pieces of gear.
Routing and switching the dozens
of rigs I could configure is, for some,
a recipe for frustration. At the very
least, when a big rig goes down on
the gig it can be a real nightmare to
fix. What appeals to me most about
modeling gear is how easy it is to
program, setup, and have a great time
using on the platform. I recently did a
DIGITAL
When the guitar community went
digital I foolishly sold my tube Echoplex
and Roland Space Echo and jumped
on the digital bandwagon. The
long delay times, presets and MIDI
compliance remain incredibly useful,
especially with a switching system like
I use when I tour. In many ways it’s a
Church dream rig - the one you wish
you could bring to Church but know
you can’t! It’s big, it’s loud, it’s moves
the ground below - and people would
justly scream bloody murder if I were
to show up with it. The numerous long
cable runs between the controller, amp,
and rack require a lot more set up than
most people have time for on a Sunday
morning - especially when something
inevitably goes wrong.
“PURE” RIGS
So where does that leave us? I believe
A great rig is one that works - for the
venue. I know that when my tone is
not happening it’s really hard to feel
great about what I’m doing. Although
I try not to make it about me, when
it’s not sounding good it can be really
hard to stay focused on God. It’s a fine
line between having the right sound
so I can do my part to support the
team verses me having “my moment”.
I’ve done both, and I can tell you that
supporting the team is the tried and true
method to stepping into an anointing
for the whole team. There are lots of
“guitar player moments” in the secular,
and Church should be about serving
each other, not ourselves.
Doug Doppler is signed to
Steve Vai’s Favored Nations
label and is currently in
production on the Get Killer
Tone DVD series. He and his
wife Melissa live to serve the Kingdom and
are members of Cornerstone Fellowship in
the San Francisco Bay Area.

You Live It.

series of videos paring various pieces
of modeling technology with the Tech
21 Power Engine 60. Looking back
I’m reminded how incredibly fun the
modeling experience has become. It
does take some time to develop a basic
strategy as you go from unit to unit, but
it’s not rocket science. In particular, the
ability to program tempos for delays as
well as an entire set of presets into a
single piece of gear is pretty magnetic.
ANALOG
Having said all that, analog gear is
filled with beautiful little components that
love to react to your fingers and each
other in a wonderful way. Modeling
technology sounds impressive because
it’s modeling impressive sounds. There is
something wonderfully expressive about
hearing how analog gear interacts as
you turn things on and off - it’s really just
incredibly beautiful. When you chain
a Gretsch hollowbody, Ibanez Tube
Screamer, Roland RE-150 Space Echo,
and a Vox AC30 together it’s almost a
religious experience. When rock was
born there were very few elements to
work with and learning to master sound
had more to do with the hands than the
gear. To my ears, analog tones really
allow you to hear the fingers more
than the gear. The down side is that, in
addition to being finicky, it often needs
to be turned up much louder than a
Sunday morning can afford.
that finding the right rig for Church is
really a matter of finding the right rig
for your Church. I remember being at
a conference and hearing someone
share about a guy who had to have Now Wear It.
his Marshall stack to get his tone
at Church. Herein lies the problem.
Although Church isn’t a gig, it sure can
look a lot like one and that’s not always
a bad thing. It’s not appropriate to blast
an audience at a casual, so why on
earth would anybody want to do that
at Church? If you don’t have a lot of
time and space, and perhaps even if
you do, a modeling setup direct into
the P.A. is a great way to go. Running
a more analog style rig (nothing wrong
with some digital stomps in my book)
into something like an AC30 usually
requires a bit of volume to get into “the
zone”. Working with your Worship
Pastor to determine if this is right for
your Church would be my best advice.
It’s gonna sound great yes, but if the
room is too small or you can’t isolate
your amp, your great tone will be more
of a hindrance than a blessing. Too
much of a good thing is still too much.
COMPROMISE
If you’re looking for something in
between I’ve had great luck running
modeling gear into the Tech 21 Power Retail Orders Welcome
Engine 60 or a low wattage tube
amp. You get all that juicy technology 253.445.1973
interacting with a real honest to
goodness guitar speaker. Put an SM57 Find it at
in front of that and you just might be
“there”.
www.musiciansthreads.com

40 MARCH/APRIL 2011 WORSHIPMUSICIANMAGAZINE.COM

 Dreaming of an
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 THE BAND
By Tom Lane
Worship is Visual
Our culture is fixated and enamored
with appearances.  Even if we think
we don’t care much about what others
think, we kind of really do, right?  Just
watch commercials; it’s not by accident
that there are images associated with
most every product.  We are visual
people, and what we see can influence
even our wallets.
Though we don’t often hear sermons
on how we look on stage, especially
in a positive light, the subject has
relevance.  You can be sure that
you’ll get an email as soon as you
do something that rubs someone the
wrong way on Sunday.  Especially the
right someone, whether you actually
did anything wrong or not.  There
are always those who are prone to
complain and we’d go nuts trying to
please them all. We can’t!   Most
would agree that worship is about the
heart and lifestyle, not your wardrobe
or vibe.  But that’s not what I’m referring
to either.   Others notice our expressions
and countenance, and it matters. That’s
what I want to address.
David’s appearance and expression
earned him praise, scorn, favor,
blessing, and influence.  It was said
of Joseph by people who counted that
the Lord was with him and gave him
success in everything he did.  Fruit
is something you can see with your
eyes.  You will know a tree by the fruit
it bears, the Word says.  Also, from
the abundance of the heart, the mouth
speaks – so what is inside does come
out and is obvious to others.  because of the delivery. However, I
In two cases recently, both involving
drummers, numerous people commented
how they particularly noticed them and
were affected just watching them play
and worship.  Their smiles, joy, and
passion – all made a difference.  Any
number of players could’ve executed
the music just as well, but it wasn’t
about that.  There was more to it than
the playing.   There are some very
impressive players and talents in the
world, but what usually confounds
others is not the skill, though that
happens, but the attitudes, responses,
expressions, personalities, etc.  We
know when someone is genuinely
humble or not, full of himself, insecure,
and so on.  We’ve all seen the most
unlikely have greater impact than the
most gifted over and over.  We’ve also
42 MARCH/APRIL 2011 WORSHIPMUSICIANMAGAZINE.COM
seen some of the most beautiful and
amazing talents be completely yielded
to God, and therefore used mightily.  A
common denominator, I think, is, like
Joseph, knowing where it comes from
and whom credit belongs to.  That spills
over into our countenance naturally,
making it hard to fake what’s really
underneath the surface.
Ps. 40:3 says: “He put a new song
in my mouth, a hymn of praise to our
God.  Many will see and fear the Lord
and put their trust in him.”   emotion and feeling.
I’ll differentiate between judging/
criticizing what we see on the worship
platform from noticing/sensing.  I for
one really do hate how critical we
Christians are of our own, like we
have some right to be!  But we are
human and still do it.  The presence of
God within is evident without – even
in worship as we play, sing, and
lead.  There are times as bands, teams,
and leaders that we force or impose
our preferences.   It can be hard to
separate ourselves from our style and
our vibe of choice.   If we’re free,
emotional, passionate, and full of zeal
– that’s awesome (we need more of
it!).  If in that freedom, we demonstrate
total disregard or lack of care for those
we are not only worshipping alongside
but leading, then we’re being selfish.   desperately.  Wanting and needing
An example would be: one leader
can lead a song and another the same
song with completely different outcomes
and experiences.  One can evoke
elation and the other agitation, simply
don’t believe it is a worship leader’s
role to manipulate a particular response
or outcome, nor do I believe that it is
about the leader or song ultimately;
the manner in which we lead and the
condition of our hearts are obvious on
our faces.
My encouragement is not that we
get in front of a mirror and practice
facial expressions or favorite holy
moves.  (Although if you decide to
do that, please record and post it on
YouTube for the rest of us to enjoy!)  It’s
that we take notice of our own inner
condition and what it conveys to others
during worship, without our possibly
even knowing it.  Do they see and
fear the Lord and move to put their
trust in him?  Does His presence and
countenance emanate and reflect
His Joy in spite of trouble, pain, or
circumstances?  Joseph obviously
had something great going on
inside.  Prosperity and favor didn’t mean
all was well; he was a slave, hated by
his brothers, inside a dungeon, yet the
powers that be always recognized his
God was with him.  That’s an example
worth following, hard but worth it to
develop his kind of keeping power
and resolve to trust in God, not his own
David also demonstrates that whether
you’re ticked off, sad, angry, or happy,
joyful, excited –it’s OK.  We come as
we are.  We don’t ever fool God and
He’s more than gracious enough to deal
with us as good Father does. Let’s do
be real and honest, but also mindful that
how we appear and what others see,
can make a difference.  Sometimes it
requires speaking truth and promise
with the authority we have in Christ to
our Spirit.  It may require overcoming
and fighting against what is holding
us back or hindering inside.  Women
are much better at it than men, but we
men need to do it more often in order
to step up.
People are not always watching
intentionally, but expectantly, even
God to touch them and move
them.  We can’t control those who
want to see or judge a good worship
performance.  And we shouldn’t feel
it’s taboo to be aware of what we are
portraying so as to align with the Holy
Spirit.  We can only play, lead, and
worship as unto God.  As we do, we
may well be used unaware as conduits
of Jesus’ love and mercy.  
Some food for thought –Worship is
also visual.
Nashville, TN is home
for Tom Lane though he is
involved in ministry and mu-
sic 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.
 Editor’s Corner Continued from page 7
with a terrific blend of praise songs and
a worshipful attitude. He is the coolest
guy! Then the Band of Brothers (with
One Sister), or as we fondly call them,
the “Super Group”, hit the stage. The
support band alone had Gregg Bissonette
on drums, John Peña on bass, and Tom
Brooks as music director on keys and B3,
all of them returning from last year’s band.
Starting off this set was David Pack,
co-founder, guitarist, and vocalist for the
band Ambrosia, and currently part of David Pack
Saddleback’s worship team. Wow! What a
voice he still has after all these years. Then
with her brother, adding timbales and congas
one of the guys who had been there at
to the mix. Sheila lit up the crowd and invited
the start of the Jesus music era stepped on
everyone to come and stand before the
stage…harmonica aficionado and vocalist,
stage while she pounded those timbales and
Darrell Mansfield. Oh my gosh, he blew
worshiped the Lord. She slammed through
through two soulful numbers, People Get
three songs. Then, for the grand finale of
Ready and Stand By Me, and the audience
that set, everyone joined in on the classic
loved it. Then Sheila E joined the band along
rock song by the Doobie Brothers, Jesus is
Just Alright. It was quite the jammin’ song
as Sheila jumped on the second drum kit
and did a double drum solo with Gregg
Bissonette. Incredible!
To close the night was our favorite Christian
live band, Newworldson. They brought their
infectious rhythms and soulful swagger, and
the crowd loved it!
It was way cool. To wrap up this special
time in the Lord, our friend David Ellefson,
bassist and co-founder of Megadeth, came
out and gave an invitational talk and some
encouraging words for all of us to seek the
Darrell Mansfield Lord in a fresh way in the New Year.
The feedback from the
crowd and the buzz
Sheila E, Gregg Bissonette & John Peña afterwards in the room was
a blessing. By then I had
all but lost my voice, but
Judy and I went around
and greeted as many
people as we could. Yes,
the Lord had done it again.
Hearts were touched, and
the artists themselves were
blessed for being there.
Sheila E stated that the
fact we could even hold a
concert like this two years
in a row at NAMM was a
miracle…and we agree
with her. Thank you Jesus
for bringing together such
a wide mix of people
that night in a ballroom
at the Hilton Hotel…
to stand as one -- right
smack in the middle of
the NAMM convention.
You are good!
Bruce & Judy

Newworldson

NAMM Night of Worship 2011 photos by Mike Overlin

WORSHIPMUSICIANMAGAZINE.COM MARCH/APRIL 2011 43
 CAMERA
By Craig Kelly
Tips for New & Volunteer
Camera Operators
I adapted this article from a post I
have at www.craigjkelly.com, where
you can find this and many more
tips for new and volunteer camera
operators.
OK, you’ve heard me talk about
focus for a while now, so let’s move
on to something else. I mentioned
previously that there are only four true
skills that a cameraman is judged
on - Focus, Zoom, Tilt and Pan.
Yes, I know there are many, many
more skills that make up a good
cameraman, but those are soft-skills
which we will get to eventually. For
now let me ramble on about ZOOM
- you know, that’s the part where you
make the picture bigger or smaller.
There are some places that think of it
as pulling it toward you and pushing
it away - but that’s kinda from a small
minority of the ol’ school folks that
used zoom cranks instead of these
new fancy servo zooms all the kids
are using now. If you have any questions, email
them to me at
Remember when I talked about ZoomIT.cam@craigjkelly.com
learning a little something about
zoom lenses? This might be a good or stop by and visit at
time to go look at that website you www.craigjkelly.com
found again because it’s really hard
not to talk about zooming and focus
without having a pretty clear picture
in your mind about lenses.
Anyway, if you look at the side or
front of lens, somewhere it will have
all these cryptic numbers and letters
on them that look real impressive.
Usually it will say something like 10
x 1, 17 x 1 or 70 x 1 or whatever.
All that means is that it will zoom
to a tight shot that is 10, 17, 70
or whatever times amount of the
widest shot that lens is capable of
(measured in millimeters) It also has
some other numbers that look like
4.8:48 or maybe 100:1,700 0r
25:3.5. This is telling you what the
widest field of view the lens has times
the zoom capability or maybe the
widest to tightest field of view. For
instance - if a lens is 4.8 mm wide as
it’s zoomed out all the way and it is a
25 x 1 zoom, then it would be 4.8
mm at its widest and 120 mm wide
at it’s tightest.
44 MARCH/APRIL 2011 WORSHIPMUSICIANMAGAZINE.COM
Now, this is by no means the end of
the lens details - because there are
definitely more that you will learn
about as you go on. But this should
get you thinking. I think you should
go to the big lens manufacturer’s
websites (Fujinon, Cannon) and start
looking at their lenses and do some
research into more lens details. These
sites have pdf files, photos, facts and
stats that you can learn a ton of info
from - and it’s free!
More than likely, you will not have
any say about the lens you use when
you’re starting out, but as you start
growing in your career you may
need to know this stuff or at least
want to know this stuff. Don’t just sit
by and ride on your calendar and
engage because you happened to
get booked - Be a pro and learn the
details or at least act like one.
Television director
Craig Kelly’s career has
included over 3,500
live shows, events and
concerts in broadcast-
ing, corporate television, events and
sports production since 1977.  He is
also involved in ministry based events
and concerts, and has produced or di-
rected internationally distributed DVDs.
With a background as an interna-
tional free-lance cameraman, he has
shot national and local level sports and
corporate video for over twenty years.
These days he is often involved in
speaking, workshops, writing and talk-
ing about Television camera operators
and directing. He recently launched
the blog ZoomIT.cam at craigjkelly.
wordpress.com for new camera op-
erators and has a training DVD in the
works. You can reach Craig at craig@
vantageroad.com
PRODUCT REVIEW
Continued from page 18
between your Mac/PC and your iPad,
enabling you to use SL Remote to control
the Virtual StudioLive on the computer,
which in turn, controls the mixer. So you
need to hook up the mixing console to
a computer in order to use this remote
feature. Speaking of which, using the
StudioLive with a computer is a great
way to get the most out of the console,
anyway, especially with volunteers
behind the console on a Sunday
morning. Using the computer to access
saved settings is much easier than using
the LCD screen on the console itself. You
can put scenes that are saved in advance
in the software, and simply drag and
drop the appropriate scene into the
Virtual StudioLive on the computer. Then
all the volunteer has to do is worry about
changing fader levels. A great option
for so many churches.
There are only a couple issues I can see
with this unit. One is that the gain trims
are not programmable, as mentioned
earlier. This is because they are analog
preamps (which sound great – I’d rather
have a great sounding preamp over a
programmable trim, anyway). The only
time this will be an issue is when you
are swapping out inputs on a particular
channel, and it’s a different instrument
or vocalist. Not an impossible issue to
overcome, just something to be aware
of as you are using saved settings. These
are all issues that should be taken care
of during sound check anyway. The
other drawback is that the faders are not
automated. But if they were, this console
would be a LOT more expensive. That’s
the tradeoff. However, there is a ‘fader’
locate LED that shows you where your
faders were set when saved. So, you
can locate the correct location for each
fader when recalling a scene, you just
won’t get the cool and convenient fader
movement.
PreSonus hit the nail on the head with
this console. A great entry point for
many churches looking to utilize digital
technology, a great small console for the
touring artist needing a great FOH and
monitor mix at any venue, plus so many
extra bells and whistles that make this a
no-brainer. You’ll find this unit at dealers
for the low price of $3300. Find out
more at www.presonus.com.
Matt Kees is the Director
of the Christian Musician
Summit conferences, as
well as a songwriter and
producer. Find out more
online at
www.mattkees.com or
www.producedbymattkees.com
The Musician’s Choice
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Drew Bodine Band/Central Christian Church, Las Vegas
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mixing system that I have used. I sing better
because the built-in reverb makes my voice
feel live through my in-ear monitors.”
Check out Drew’s interview at
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Digital Snakes
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M-48 mixers. The S-MADI includes a built-in split port for connecting a local M-48 so
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+ Digital Console + Personal Mixing + Recording
 In Ephesians 2:14 it says, “For He Himself is
our peace, who has made the two groups one
and has destroyed the barrier, the dividing my culture and the understanding that because of the treatment they’d
wall of hostility…” Breaking down walls is I have of it. He told me that was fine, received from the colonial countries
what the First Nations worship band Broken but I had to mention sex, drugs and and marauders, and how it affected
Walls is all about. In the following interview, booze in the music more because that them down through the generations.
I spoke with band founder Jonathan Maracle was what the public wanted. That’s when God started to unload
about what they do, and the indigenous Though I wasn’t a Christian, I had on me this message of “breaking
instruments they use in giving glory to God grown up with morality, and what he walls—breaking down the walls of
and bringing the message of freedom and told me appalled me. I told him “no.” bitterness.” God gave me a song,
healing to those who are oppressed. He said, “We’re paying the bill, you “Broken Walls,” and I had a vision to
either do it or we won’t sign you.” I go to the Native people around the
Aimee Herd: Jonathan, give a little told him to keep his deal and walked world.
background about yourself and then out. Recently we’ve taken on the heading
how Broken Walls came to be.
I was lost and broken—it was a for the band: Broken Walls is
Jonathan Maracle: I’ve always dream I’d been chasing for some 13 contemporary Native American music
wanted to be a singer—all my life. years. Before I had left Canada, my for the well being of the people.
I was inspired by Elvis (laughs), and father (who was a missionary) had We’re not distancing ourselves from
others along that trail; just loving told me that if my back was ever up the Gospel, but we’re trying not to
rock and roll, and heavy rock. So, I against the wall, to call on Jesus. I sound as “preachy” so we can more
chased my dream down to California told him, “I don’t need Jesus.” (I was effectively reach the world. I’m the
for several years, where I opened for very arrogant) But, (after leaving kind of person who wants to go into
major groups and that sort of thing. the record deal) I remember sitting the hedges and the byways to the
But it all came down to a place where in my apartment with my head in my people who really need to hear what
my music was my god, and wasn’t hands and saying, “Jesus.” Within we have to say.
fulfilling or giving me everything I 10 minutes the phone rang; it was my AH: Who are the other members of
needed. dad—who I hadn’t spoken with in 2 Broken Walls?
I had gotten a record deal with a years. I ended up going to see my JM: Kris, my bass player, has been
major label and started writing songs parents in Florida where ultimately I with me for almost 12 years. He grew
for an album. A label rep told me it came to know the Lord. up surrounded by Native people, he
was good stuff, but I wasn’t talking For a time I didn’t do any music, but was familiar with their plight, and it
about sex enough, and all those just sought God. Then I was asked to was natural for him to want to make
things that the American public sing at a Sacred Assembly in Ottawa, a difference. He’s university trained;
wanted to hear. I wasn’t a Christian Canada, in my Native language. an incredible bass player and has his
by any stretch of the word, but when They wanted me to sing Amazing own solo album out.
he said that to me, it just didn’t seem Grace in Mohawk. While I was
right. Then, Bill Pagaran Is my drummer.
there, I heard John Sandford speak He’s a Tlingit (pronounced Klinket)
I told him I was Native American and on the heart of bitterness that resides man from Alaska. Bill played with
wanted to write my music based on in the indigenous people of the world the Anchorage Symphony Orchestra,

46 MARCH/APRIL 2011 WORSHIPMUSICIANMAGAZINE.COM

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 Walls incorporates into the music. Another instrument we play is the
JM: One of our main water drum. The water drum is a
instruments—that sets up in the smaller drum that my people used
middle at every Broken Walls originally for communication. There
concert—is a large buffalo hide would be a hollow log in each village
pow wow drum. This drum has and someone would play the water
traveled with me around the drum into the hollow log and it would
world; it’s an instrument where transmit through the ground (much like
maybe 3 up to 12 can gather the rails do when a train is coming) to
around and play it and sing. the next village. The water drum was
There’s something about the pow also used by my people during social
wow drum that brings a sense of gatherings, to honor the Creator.
unity, because you’re all playing A lot of times our concerts will open
the same beat, and singing the up with the water drum, and I’ll
same song—there’s a tightness sing the Iroquoian welcoming song
and is a teacher. He is also executive that happens, a “one voice.” to welcome the people in, which
director of Carry the Cure, a faith- In Chronicles, it talks about how the is all sung in Mohawk. It’s a drum
based suicide prevention ministry singers sang, and trumpeters played that is played while standing up,
in Alaska. He’s the best drummer and it sounded as one voice, and and the drummer dances ahead of
I’ve ever played with and absolutely then the presence of God came upon other dancers behind him—it’s really
meant to be the third person in our them so strong that they couldn’t beautiful.
“3-strand cord.” He has a deep stand to minister. AH: It’s called a “water drum,”
ability to minister to young people,
and between the three of us, we One evening we had about eight so I’m envisioning that it somehow
cover ages from kids up to elders. of us playing the drum, and it was incorporates water…
a total unity that spread throughout JM: I put water in it, and the water
AH: I know you have a lot of the whole place. People said it was solidifies the sound. Drums usually
albums out, but talk about your latest the most unified sound they had ever have a very dry, hardened hide on
recording. heard. It made me think about that them. But, for the water drum, we use
JM: Our latest is called Father’s verse where when they came into a soft hide that’s been tanned, and
Dance. I’d say it’s our best one to unity, God’s glory descended upon then we wet it, which makes it a very
date, and that should be the way them. solid sound. That’s why—back in the
it is. This one is based around the AH: It is a really powerful sound. day—it translated through the ground
call to the restoration of family. It’s a Another instrument you use is a wind so well, because of that high, solid
call for fathers to return to their place flute—I especially love them. sound it would give off.
in covenant with their wife and to And then, we also use different
mentoring their sons and daughters. JM: When it comes to the flutes— types of rattles in our music. They’re
there are so many different Native
There’s a song on it called, Release cultures across North America, and mostly made of elm bark—among my
the Warrior. It’s a statement that all of them have slightly different people—and turtles. We would take
says “a real warrior makes the right aspects; languages (there are over turtles, dry them and hollow them out,
choice; a real warrior makes the 300), among other things. The flute, and make them into rattles. Some are
decision that is best for his entire to some cultures, was an instrument also made of deerskin.
family, not just himself.” Warriors of of romance, but they’ve also been a We use all these things when Broken
the past fought and gave their lives, very spiritual instrument. Walls plays.
and warriors of the present need to
make the right decisions to affect their People have told me when I play AH: Have you found, as you’ve
future. the flute that they often experience played in some of the more mainline
some their best times of prayer and churches that indigenous instruments
AH: Talk a little about the instruments intercession, because it helps to put are becoming more widely accepted,
you use. I know you play guitar, them in that place. and even used in worship?
but you also make those beautiful
wind flutes, and play them. Talk The Iroquois people have used flutes JM: Oh definitely, they are. Back
about those, and some of the other for a long time, there have been flutes in 1985 or ’86, I was basically put
indigenous instruments that Broken unearthed in some of our villages out of a church because they said
during excavations. Fifteen my music was “not of God.” They
years ago, my brother began told me the drums were evil, and
playing the flute. When I heard the way I was presenting was not of
him, I thought, “Wow! I’ve got God. I said, “But, people are getting
to get to know this instrument.” saved!” The big fight has always
I’ve been playing it ever since. been that the Church and religion has
It’s one of the typical instruments looked at items as either evil or not,
that are used in Native American and prescribing that either a guitar
music. is Christian or is not Christian. But,
The flutes that I make, and that before I was a Christian, I played my
we sell on our website, are each guitar and I played for the devil—no
individually hand-crafted and question—I didn’t play for the right
uniquely designed from wood reasons. But, when I became a
from Tyendinaga Territory, Christian, I did not burn my guitar—I
Ontario Canada, which is the played it and wrote songs about
Mohawk Region. Jesus. I sang songs about His love for
me and people got saved. I believe

48 MARCH/APRIL 2011 WORSHIPMUSICIANMAGAZINE.COM

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 who love Jesus. hundreds and hundreds of testimonies
There’s a stirring of people’s lives that are set free.
up that says, A lot of times, the hardest people
“Hey, I don’t have to reach are the Native people
to be ashamed who became Christians under that
of who I was distorted message that they have to
and who I am. give up who they were. But when
I can actually they finally meet Jesus’ love, there is
accept the fact such a freedom, because now they
that I’m Mohawk, are free to love and respect their
or Cherokee culture, love their people, and bring
or Apache, or others to Jesus in that way.
whatever. For Once we were playing at a university
so many years, and this one girl—about 18—had
Native people recently become a Christian, she had
[in order to come been a pow wow dancer; dancing
and worship with was her life before she had become
the guitar had nothing to do with it. I the Church] have had to negate our
believe the instrument is subject to the heritage and say, “Okay, I’m not a Christian. That night we started
heart of the musician. playing on the drum, and the non-
Mohawk anymore, I won’t speak the native people were interested and it
In a lot of the villages and communities language…” was a novelty. But this one Native girl
that I go to, the name of Jesus is just Once I was ministering South Dakota was standing in the front, and she just
scorned because people came in and State Maximum Security Penitentiary started crying, really sobbing. I told
tried to force the Native people to and a tall Lakota man came up to me the guys to keep going, but I stopped,
be like whatever religious affiliation and said, “I always knew Jesus was went down to her and asked her what
they were from. They held Jesus back the Way, but I could never accept was wrong. She looked at me and
from them until they converted their Him, because they always told me I said, “I’ve been a traditional dancer
culture, rather than allowing the gift had to quite being Lakota in order to all my life, and the first thing they told
of God and Jesus Christ to be used know Jesus.” me when I got [to the Bible college]
within the culture. It’s so important to was that I could never dance again.
realize that it’s not about converting That kind of message, which has been Now you come here—and the crying
the culture, but it’s about allowing purported for a couple hundred years is because I am denying who I am.”
them to be who God created them now to Native American people, has So, I went to the side where there was
to be, and carrying the message of caused them to accept a mindset that a stack of coverings for people, and
Jesus into that. “God doesn’t like us the way we were
created, but we need to be like them I brought one back to her. I put it
AH: Jonathan, have you ever done to have a good connection to Him.” over her shoulders like a shawl that
any teaching on First Nations music a Native woman would wear, and I
and worship? It seems like that would But, our message at Sing to the said to her, “You dance! Dance with
be a very interesting class. Mountains, and with all of Broken your heart for God, dance with your
Walls’ music is, “God loves us for heart for Jesus.” She got up and
JM: Yes, I was one of the speakers who we are, and for who He created started to dance across the front; it
at Urbana. I did some sessions us to be, and He can work just as well was beautiful.
there, and Broken Walls was the within our culture as He can within
main worship band there for Urbana anyone else’s.” The cool part is, the next day I got a call
2003. What was really cool was, from another woman who was a full-
I think they gave us 35 minutes to AH: There’s really an urgency isn’t blooded Native, who had kept other
play for their main worship segment there, to get this truth of God’s love to Native Americans from attending our
on a Friday night, but after the 35 the Native people, because denying concert, because for years she’d been
minutes were up they told us to “carry their heritage and who they are has religiously taught that what we were
on!” So, after about an hour and led to terrible consequences among doing was not of God. She told me,
15 minutes we finally stopped—the them—alcoholism, and suicide being “I’ve been following you for a long
crowd was just so into it. It was a rampant. time, and wherever you go, I would
pretty awesome time, and the whole JM: We’re leaving soon to go into go behind you and tell people that
concert is live on their website: www. Pikangikum, an Ojibwe community everything you were saying was a lie
urbana.org that has one of the highest suicide and was wrong. Me being Native,
many of them believed me. I want
AH: Now, this past year in 2010, rates in the world, many times over. to apologize to you for what I’ve
you held the first ever “Sing to the The problem there is that the people done, it was absolutely wrong, [now
Mountains” music festival. Talk about don’t like who they are, they’ve I see] what you are doing definitely
that, because I know you’re thinking been taught that they must be like brings healing and restoration to the
about doing another one. someone else. How can they have
an understanding that there is a people.” That night she came to our
JM: Yes, I’m debating right now God who loves them, if they can’t concert in full Native regalia and
on whether it should be this year or recognize that He loves them for who danced.
next. It took a lot of work to put it they are?” For more information on
together. But, the vision of Sing to Broken Walls; to buy their
the Mountains was not just a music AH: So, when someone finally
music, or purchase Native
festival, but to educate people, to understands that God truly does love instruments, log onto:
educate the Church. There is a them just as they are, and they are
rebuilding of self respect that comes set free, how have they reacted, what www.brokenwalls.com
when Native people come and hear have you seen happen to them?
the drum being played by people JM: It’s pretty amazing; we have

50 MARCH/APRIL 2011 WORSHIPMUSICIANMAGAZINE.COM


By Greg Sisley
Take a Look at Your Lighting
Whether you worship in a school gym
or a purpose-built concert venue, the art
of creating a great worship space is the
same. We want the environment and the
technology to work together to focus our
attention on the intended event, idea, or
communication. The room, its surfaces,
and the systems in it need to work together
to achieve these goals. It is a great idea
to routinely take an objective look at our
space and see if we are on track. Here
are a few thoughts related on this topic to
help get the discussion started.
First, is it bright enough in the areas you
need light? If the area surrounding your
intended area of focus is competing for
attention, the perception is that the light
on the subject is too dim. It can be tiring to
try to focus on dimly lit objects; especially
amidst other light sources. In some ways
it is like creating a great audio mix. You
can highlight the desired channel by
turning it up, or turning the others down.
So, take a look at your application of
lighting. Is there a way to create some
separation and achieve focus? Does your
lighting programming adjust all areas
appropriately? For instance, during the
message, is the right, left, and upstage
dimmed? Great lighting is simply using
light in the right place at the right time.
When our eyes have to adjust to
bright or light-colored sources like large
windows, stained glass, or light-colored
surfaces behind the speaker or worship
leaders, it becomes increasingly difficult
to front-light effectively. Take a look at
the surfaces and ambient lighting in your
room. Can any treatment be applied to
subdue the ambient light? Can the rear
walls of the stage be painted a very dark
color complimentary to the décor of the
room? I prefer black, but in many environs
(like my home church) a dark espresso
may be the limit of the décor team’s taste.
Take a look at your lighting locations.
The position of your fixtures is much more
important than the number or type of
fixtures you have, or the control system
you use. Sometimes lighting is at the end
of the list of priorities, and the system that
was designed for the room has been
abandoned in favor of something less
effective. Quite often the layout of the
stage or usage of the room has changed
since the lighting was installed, yet the
lights were left in their original locations.
A common occurrence is expansion of
LIGHTING
the stage to ‘get the pastor closer’ to
the people. This can result in lights that
neatly illuminate the top of heads and
leave faces in shadow. This noticeable
problem is usually overcome by new
lights – often at a very low angle on the
back wall – to remove the shadows (and
cause temporary blindness should people
ever look up-LOL).
Maybe some of these thoughts are
familiar to you. I encourage you to stop
and take a look at your room. Is the design
of your lighting system and worship
environment a result of an intentional,
ongoing plan? There is help available to
answer your questions. Effective functional
design of the worship facility is easily one
of the most cost-effective pieces of a great
system. The room design and the lighting
of the intended activities should be a high
priority for a design team. Achieving a
good building design will save money
and frustration later. On the other hand,
the lack of a master plan may set you up
for years of regret. I recommend finding
a lighting and design company that you
can build a long-term relationship with
to create an atmosphere in your worship
space worthy of the ONE we worship.
Greg Sisley is on the pastoral staff at Faith in
Kent, WA, where he serves as executive pastor
and production lead. He serves as a consultant
to churches in the area of lighting design and
production with Focus AVL.
gregs@focusavl.com
 MANDOLIN PRODUCT REVIEW
By Martin Stillion
Trinity College TM-475 Mandola
For as long as I’ve been paying
attention, Saga Music has been
importing Celtic-style mandolin-family
instruments under its Trinity College
label. As far as I know, these have
had a reputation for being decent
entry-level instruments at an affordable
price point.
Recently, however, the Trinity College
brand appears to be taking a turn
toward the upscale. New models
like the TM-475 mandola sport
several welcome enhancements
to the basic features of the line,
while maintaining the familiar
overall look.
This is a “mandola” in the American
sense of the term: it’s meant to be
tuned CGDA, a fifth below the
mandolin. In Europe, where the
instrument is relatively scarce,
it would be called a “tenor
mandola” in the British Isles,
or an “alto mandolin” on the
Continent, in both cases to
distinguish it from the more
common “octave mandola”
(or just “mandola” to many
Europeans)—the instrument
that we Yanks would call an
“octave mandolin.” Clear as
mud?
Anyhow, a mandola can
be useful in musical
52 MARCH/APRIL 2011 WORSHIPMUSICIANMAGAZINE.COM
Intonation and minor setup issues may
vary from instrument to instrument, and
are usually not difficult to fix. The MSRP
on the TM-475 is around $1,395, but
it should be available at a discount
situations where the tone of a mandolin price that will make it a viable and
might be too bright or strident. And attractive option for mandolinists
because of its lower pitch and warmer looking to diversify.
sound, it’s often a good choice to
substitute for a guitar when backing Multi-instrumentalist Martin Stillion,
up a vocalist. When moving from a 15-year veteran of worship
mandolin to mandola, you can adapt bands, plays at Seattle’s Bethany
many of the fingerings and chord Presbyterian Church. In his other lives
shapes you already know—you’ll just he’s a husband, father, writer, editor,
have to get used to everything being Webmaster, composer, and musician.
a fifth lower. Learn more than you wanted to know
about Martin at www.stillion.com/
The TM-475 sports a solid, arched martin or www.emando.com.
Sitka Spruce top (the one I reviewed
even had a bit of an interesting bear- Multi-instrumentalist
claw figure in the spruce) and solid Martin Stillion, a 15-year
East Indian Rosewood back and sides, veteran of worship bands,
with an oval soundhole. These features plays at Seattle’s Bethany
yield a pleasingly “tubby” tone, Presbyterian Church. In his
comparable to vintage Gibson oval- other lives he’s a husband, father, writer,
hole mandolas, but with a somewhat editor, Webmaster, composer, and
less complex overtone series, resulting musician. Learn more than you wanted to
in excellent single-note definition. know about Martin at www.stillion.com/
Paradoxically, very few Celtic bands martin or www.emando.com.
actually use this kind of mandola
(Dervish is one exception), but the tone
of the TM-475 is very much in line
with that of the mandolins and octave
mandolins/bouzoukis/citterns often
favored by Celtic players.
The mahogany neck and 17-inch-
scale rosewood fretboard, along with
a multi-ply rosewood body binding,
stylish one-piece bridge, and classy
headstock logo, add up to a look of
elegance. Higher-end features include
an adjustable truss rod with handsome
rosewood cover, gold-plated tuners
with ebony buttons, and a substantial
1-piece cast tailpiece, also finished in
gold. A decent-quality hardshell case
completes the package. It is, in every
way, a huge step up from the lower-
end Trinity College mandolas, and
could serve your mandola needs for
many years.
There’s only one strap button and no
pickup, so you may have to modify
the instrument depending on how you
plan to perform with it. I spent a few
minutes tweaking the intonation on
the one I reviewed and couldn’t quite
get it perfect. To satisfy discriminating
ears, it may be necessary to set the
instrument up with different strings and
possibly a new, adjustable bridge.
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 A FEW MOMENTS WITH…
By Melissa Doppler
Lowering the Bar
One of the challenges that plagues many
worship teams is how to keep them excited
about rehearsing and practicing. There are
lots of reasons this can be a problem, but
a surprising solution is to raise the standard
and increase the level of expectation. I
know! You’re thinking that you can’t ask
more of your people. Not only can you,
they’ll thank you for it.
Increased expectation doesn’t mean an
absence of grace or understanding of your
team’s commitments outside of church. Nor
should we be legalistic about rehearsal or
have an imbalanced focus on increasing
musicianship for the sake of the music
alone. What I’m talking about is investing
into your team as a whole and individually.
People actually want to get better!
Rehearsal becomes boring when the
material is always the same or there’s no
challenge to grow musically or spiritually.
If your musicians and singers think, “I could
play/sing that in my sleep” they’re not
going to see the value of coming together to
rehearse or practicing beforehand. When
we gently push our team outside their
comfort zone they will ultimately become
better at their craft and feel a greater sense
of fulfillment and team spirit.
This is also a great platform to start raising
up new leaders and increasing the spirit of
servanthood in your team. As worshippers
we should be leading the congregation
by example in our walk with Christ, not
just showing up to play ‘the worship set’.
By increasing their own skill, your team
members are serving each other and the
congregation by improving the experience
for everyone. And the less we concentrate
on our instruments the more uninhibited we
are to worship God.
By now you are probably thinking I
misspoke myself in the title of this article.
Shouldn’t I have called it ‘raising the bar’?
Yes, and no. Let me explain. Have you
ever played ‘limbo’? You remember — that
game at the Hawaiian-themed party where
two people hold a bar horizontally and you
have to shimmy your way under it? The
lower the bar is, the more difficult it is. The
pole isn’t dropped a foot each time. It’s
lowered incrementally, inch by inch, until
you think it’s impossible for a human to
pass underneath. The secret to making it
to the next round is flexibility. That’s why
54 MARCH/APRIL 2011 WORSHIPMUSICIANMAGAZINE.COM
I’ve called this ‘lowering the bar’. Not only
are you increasing the difficulty musically
you are also encouraging them to grow
spiritually — by focusing on serving each
other, the church and God.
extend grace and encouragement that they
Putting it into practice are on the right track. Taking small steps
provides confidence for the bigger ones.
• USE POSITIVE LANGUAGE
(including in your tone and • PUSH MORE MATURE TEAM
posture). MEMBERS OUT OF THE NEST.
You can make this work or sound fun. Fun For some that means asking them to
is better! Emphasize that you want to mentor another team member. Hold them
serve them. Your desire is to invest into accountable for checking on the other
each one so they become better musicians team member’s progress and provide the
and disciples individually, and that will encouragement needed. Others may be
ultimately translate into being a better team ready to start leading worship. Someone
as a whole. Let them know how much you else might have the potential to make a
value them. After all, if it weren’t for them it great choir director. The opportunities are
would be a solo act and not a team. endless and the benefits are significant.
• LET THEM KNOW WHAT TO • CELEBRATE YOUR SUCCESSES.
EXPECT.
Make sure you praise your team often.
Reassure them that you’re not asking for People tend to be very hard on themselves.
giant leaps or mammoth tasks. They’ll hear the negative over the positive
every time. Make sure your praise far
• SET ACHIEVABLE AND outweighs any constructive criticism.
MEASURABLE GOALS
INDIVIDUALLY AND AS A TEAM. • LEAD BY EXAMPLE.
For instance, despite a high level of As worship pastors and leaders we are just
musicianship, the musicians and singers as much part of the team as everyone else.
in our church have been hiding behind The standard you set for yourself should be
music stands for years. After some gentle much greater than what you ask of the rest
encouragement to set aside that practice of your team. We all have room to grow
the team is rising to the challenge. What’s and when you challenge yourself musically
the big deal? Well, for some it was indeed and as a leader you will not only benefit
a big deal. One singer felt she couldn’t personally but be better equipped to take
survive without the ‘security blanket’ of a mic your team along with you.
stand and music stand. A couple of weeks
later her tune had totally changed — she • ABOVE ALL ELSE, LEAD IN LOVE.
was grateful for being pushed to raise the Your heart for your team members will
standard and felt liberated. She realized speak louder than any words you use. Pray
she could better focus on worshipping and for them and ask God to help you be the
leading the congregation instead of having leader they need.
her head buried in the words.
• GIVE ENCOURAGEMENT AND Melissa Doppler is passionate about
PRACTICAL TOOLS TO ACHIEVE equipping musicians and worshipers as
THOSE GOALS. leaders both on and off the platform.
Originally from Sydney, Australia,
Your team members are all going to be at
a different level. Identify one thing they Melissa draws from over 25 years ex-
perience in church leadership across a broad range of
can work on, equip them with the tools church life as well as over 20 years in corporate manage-
they need to achieve it and set a realistic ment and team leadership. After attending bible college
timeframe to achieve it in. Check in with at Hillsong church she served on the Hillsong Worship
them often to see how they are doing. and Creative Arts team for many years. Melissa and her
Give positive reinforcement. And if they husband, Doug, attend Cornerstone Fellowship in Liver-
don’t get all the way there first time around, more, California.
BREAK
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