The Unity, Music, and Community that is

:

ONE SONIC SOCIETY

Product Review
Roland G-5 VG Stratocaster

JUL/AUG 2012 Volume 10, Issue 4
07

Product Review Record Reviews

Blackstar HT-Delay and HT-Reverb Bellarive l Bluetree l An Epic No Less l Deluge l Dan Macaulay

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Songchart ‘Almighty God’

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The Best Technology for Worship

Church Sound & Music Technology Guide

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

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NEW

Sweetwater-exclusive Interview with Brandon Heath

Volume 5

Singer/songwriter Brandon Heath shares his thoughts on creativity, craft, and his musical mission. There’s also a special Q&A with Dan Muckala, the producer of Brandon’s Grammy-nominated album, Leaving Eden.

SWEETWATER WORSHIP SOUND PRO 2012
(800) 222–4700 • WWW.SWEETWATER.COM

Essential Guides for You and Your Volunteers
Brandon Heath
Learn how this award-winning singer/songwriter found his voice — and his true calling.
pg. 6

NEW!

CASE FINDER
Sweetwater.com/casefinder
Get the details on pg. 101.

Sweetwater Exclusive!

In-depth, down-to-earth articles help volunteers, pastors, and worship leaders to understand the ins and outs of the latest in worship sound technology.
Worship Sound Pro 101 Guides Worship Sound Pro 101 Guides
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Take a look at the instruments we’ve highlighted in this guide, including Roland’s BK-5, the affordable Casio Privia PX-830, and the piano-likeWorship Kurzweil PC3K8. You’ll also want to check out the Nord C2D.

Sound Pro 101 Guides

Keyboard

Workstations: Powerful Tools for the Worship Leader

Picks
Roland BK-5

The Basics of
Dropout is just as bad as feedback. Even intermittent dropout can ruin an otherwise wonderful service. An unbroken line of sight between the transmitter and the receiver’s antennas is ideal, but seldom is that possible. More times than not, the wireless signal must rebound off of walls and other surfaces to reach the receiver, and that increases the risk of dropout. If you put a bodypack transmitter in your back pocket, the signal (unable to pass through you) will have to find an alternative path to the receiver. So, to minimize the risk of signal dropout, keep your bodypack in your front jacket pocket. Another major problem is broadband noise and radio interference. If your church is in a city, chances are that an inexpensive entry-level wireless system simply won’t work for you. The same precision technology responsible for the high simultaneous channel count common to most high-end professional wireless systems is responsible for shutting out noise and radio interference. Digital wireless systems, which reject noise and other nondigital signals out of hand, are excellent cost-effective alternatives to traditional wireless systems. All professional wireless receivers are “true diversity” receivers, which means that they use two independent antennas. That way, if the wireless signal doesn’t reach one antenna, it can still reach the other. Quality wireless receivers have antennas that twist off, allowing you to mount them on stands and spread them out. Separating your antennas vastly increases their effectiveness. Even spreading your antennas out just a few feet and moving them away from your other gear will vastly improve your system’s performance. Also, if you have a multichannel wireless system, you may also need an antenna distribution system, which will allow you to connect only a single pair of antennas to multiple receivers. Whether your future wireless system is a single-channel, single-speaker setup or a larger system for the whole worship team, it should effectively and accurately spread the message. Unfortunately, many budget-priced wireless systems may make it difficult and unpleasant for your congregation to hear that message. If the number of quality wireless systems you need is beyond your current budget, practice wise stewardship and save your money until you can afford the system that your house of worship deserves. There are excellent single-channel wireless systems that you can start with and expand later. Your Sweetwater Sales Engineer will be happy to help you find the right system for your church.

INTRODUCING

at

Pastor

PRO WORSHIP MUSIC

Choosing the Right

Backing Tracks and Beyond

KEYBOARD
Whether you’re looking for a simple instrument that just plays and sounds like a real acoustic piano, or you’re seeking a powerful centerpiece for all your worship team’s ambitions, there’s a digital piano that’s right for your church. To help you zero in on the perfect keyboard for your needs, let’s take a look at the different kinds of keyboards available, as well as the important factors you’ll want to consider when making your decision. When Less Is More
Many church pianists we work with often feel overwhelmed by the number of choices out there — and even more so by the number of knobs, buttons, and controls on keyboards. “All I need,” they tell us, “is an instrument that plays like an acoustic piano and has a fantastic natural piano sound.” If this sounds like you, you’ll want to select what’s called a stage piano — and ideally one with a full set of 88 weighted keys (also called weighted action). These keyboards actually mimic the response of a grand piano’s keybed, where the lowest keys require more force to strike, and the upper keys feel light and airy beneath your fingertips. To nail the sound of an acoustic piano, today’s top keyboard manufacturers have gone to great lengths to record some of the finest grand pianos in the world, putting these sounds right inside the instruments. Not only can you get the sound of a classic Steinway, but on many you can also push a single button to get the sound of a Bosendorfer, a Yamaha C7, or a character-filled upright. If you’re replacing an acoustic piano, you should consider the importance of aesthetics to your church. If you have more-traditional services or are seeking a really natural look up on the platform, then you may want to choose a more authentic-looking stage piano. We have options available with wooden cabinets, in a variety of finishes, so you can choose an instrument that matches the decor of your church.

Ideal for Contemporary While streamlined, piano-like instruments are ideal for a number of $ 00 Worship Songs worship leaders and church pianists, many other houses of worship rely on More info on pg. 104 keyboards for much more than just piano sounds. In fact, if you’re a pianocentric worship leader, you may very well be able to perform and produce your entire service with a single powerful instrument called a keyboard workstation. More than just keyboards with hundreds, sometimes thousands, of instrument sounds, these instruments often feature multitrack sequencers, so you can layer all the different instrument parts into a full orchestration. Kurzweil PC3K8 ennheiser $ 95 It’s very similar to working with audio editing and production software, only>>Sennheiser Amazing Feel and $ 00 you’re not tethered to a computer — and you can easily play these backing EW 335 G3Piano Sounds info on pg. 20 More tracks right from your keyboard during services. And even if you do have More info on pg. 98 Churches across the country swear by a complete worship band, you can use a workstation to add a few choice this pro-level UHF wireless system! backing instruments to fill out your sound — perhaps a second trumpet part, a string section, or even an extra kick drum sound for more power.

999

Building a Mix
It’s bound to happen at some point: the mix disaster. Maybe your church’s regular sound person calls in sick at the last minute. Maybe the new volunteer sound person doesn’t know a volume slider from a sliding door, or a mixing board from a mixing bowl. Whatever the circumstance, something has to be done to save the service. Without decent sound, the congregation won’t be engaged or inspired by the music, and the message may be completely lost.
Though creating the perfect sound mix for a service is a true art, a sound person with little or no mixing experience can still achieve good sonic clarity and deliver the message with pleasant and effective audio. Here are some tips for saving the day with a quick, last-minute mix — whether you are working the sound booth yourself or have the help of a volunteer. system may not be perfect — forewarning the team that everything may not be ideal will go a long way toward easing the process for everyone. At least they will know what to expect!

Photo by Jon James and Troy Behrens

7. Have the worship team begin to play a song.
Watch for red overload or “clip” lights on the mixer. If you see these, turn down the gain controls at the top of that source’s channel.
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8. Build the mix by bringing up the volume faders for the basics first.
Start with the bass drum and the bass guitar, turning them up to a comfortable level and balancing them against one another. You may need to adjust the level of the master volume fader to get the overall level to the right point.

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

A Balance of Features for Modern Worship

Practice • Rehearse • Perform
Tracks and Mixes for Your Worship Team pg. 108

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

1. Action

Performance Ready with If you don’t need the all-out power of a workstation, but you’d still like a $ 00 Powerful Features handful of cutting-edge capabilities — maybe built-in drum patterns for More info on pg. 97 rehearsals and a lighter sequencer for a quick songwriting sketch pad — there are a number of options that fall somewhere in between the two categories we’ve already mentioned. Instead of choosing an 88-key option, which has the same number of keys as a full piano, you can select a 76-key (or smaller) version. These instruments trade a slightly reduced range (many Nord C2D keyboardists never use the highest and lowest keys anyway) for lighter 00 Wireless Breaking Through thebe a$little daunting at first. But don’t worry, wireless systems technology can Price/Performance Barrier weight and a more portable form factor. You can still get fully weighted keys More info on pg. than ever before. Most wireless systems set on a 76-key piano, or you can choose a semi-weighted version that works well much easier to understand today103 are if you perform a blend of classic and modern instrument sounds, rather than themselves up for you, and once you’ve set them up, you don’t need to touch them strictly piano.

Worry-free 3799
Korg Kronos 88

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

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

WIRELESS
3485 2399
Casio Privia PX-830
The Look and Feel of an Acoustic Upright Piano

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

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

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

1. Keep it simple.
Unfortunately, mix emergencies rarely occur when you have loads of spare time to work on a solution — it almost always happens minutes before the service is supposed to start. While your sound booth may have racks of processors and sophisticated audio equipment, now is >> Line 6 $ 99 not the time to experiment with effects or to randomly XD-V35 More info on minimum you start turning knobs. Focus on the barepg. 19 An affordable digital wireless the special need to get the job done. Leave system such effects for as time. another this one provides reliable performance.

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

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

2. Sounds

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

3. Arranging/Recording Capabilities

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

Increasing in popularity are keyboards that feature a built-in microphone again. Here’s a simple overview of wireless microphone technology, how you can put input. These are perfect for the performing worship leader and great for it to work in your church, and how to avoid some common pitfalls. scaled-down youth services. The vocal microphone goes right through the There are keyboard’s output, so you’ll need to amplify only one signal. Better yet, Yamaha S90 XS two basic types of wireless transmitters: handheld units and bodypacks. Handheld units combine a microphone and a wireless transmitter into one device. there are professional vocal effects built in, so you can refine the vocal sound Perfect Blend of Ease of $ 99 They without having to purchase an extra piece of gear. Use and Deep Features are extremely convenient for worship leaders, and even some pastors prefer them because info on pg. 96 move a handheld microphone away from your mouth if you More you can Don’t Forget About Realistic Organ Sounds need to cough. Wireless handheld microphones are also less susceptible to dropout, because the transmitter part of the The organ is still a very popular instrument for worship services. And while unit naturally points out toward the receiving antennas. most of the keyboards we carry feature a built-in organ sound, you can get that organ-playing experience — complete with drawbars — by choosing a dedicated instrument for the task. Have more questions? Our Sales Engineers are here to help you choose the best keyboard for your church’s goals. In fact, what you see in Worship Sound Pro is just a small sampling of the many keyboards we have available. Give us a call today at (800) 222–4700.

299

2. Use what’s already there.
Hopefully, your sound system is already set up, the cables and the snake are run to the mixer, and the monitors are tuned in to prevent feedback. Plug the mics into the mixer or snake in their usual positions. Try to use the same “old standby” microphones and other gear you usually use — again, now is not the time to experiment with new gear!

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

4. Size and Portability

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

$

More info on pg. 102

99999

700

5. Appearance

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

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

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

>> AKG

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This inexpensive digital wireless system Explain to everyone that the regular sound person is not is a real performer onstage!

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available and that help is required to have the service go well. This means guitarists need to turn down, drummers need to control volume, and so on. Explain that the monitor

12. Fine-tune the mix and the monitors.
Adjust volume levels so that instruments and vocals are balanced, and adjust the bass and the treble controls on channels as necessary to prevent boominess, harshness, or
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101 Guides
With valuable advice on live mixing, miking techniques, instruments, and more, our informative guides give you the tips and tricks you need to make your services sound better.

Sweetwater.com/worship
Here’s the best way to learn, rehearse, and perform today’s top Christian music! Get complete backing tracks and practice mixes, charts, and more.

Practice, Rehearse, and Perform

News and Articles

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

Try out Pro Worship Music for free — with no obligation! k out Chec orship Download “Before the Morning” for absolutely no charge. W REE! This is a limited-time o er. Get your download now! Pro sic F Mu Sweetwater.com/worship

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ontrol your own monitor mix from an iPhone® or iPod® touch with PreSonus’ free QMix™ app for StudioLive digital mixers. Up to ten individual on-stage mixes with a StudioLive 24.4.2! Pick which channels you want to include, tweak their levels and then use the ingenious Wheel of Me to boost only your channel with one finger swipe. Need to control your

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whole mixer from the stage, pulpit or pew? Use StudioLive Remote and an iPad to adjust all major mixer functions including Fat Channel signal processing. Want to record the service in 24-bit multi-track? Capture™ 1.1 does it in two mouse clicks (and comes free with all three StudioLive models.) Editing, overdubs, extra tracks of sampled instruments and drum loops? Studio One™ 2 Artist DAW also comes free. At the heart of all this wireless control are the world’s best-selling compact digital mixers. Packed with easy-to-use Fat Channel digital signal processing and effects. Equipped with our renown XMAX™ Class A mic preamplifiers. Don’t let your church settle for a mixer that’s just a lump of hardware with bits of bundled software. Get the complete seamless integration that only StudioLive can deliver. Visit our website or your nearest PreSonus dealer today.

StudioLive 16.4.2, 17 XMAX™ preamps, 6 monitor mixes with 6 iPhones StudioLive 16.0.2, 12 XMAX™ preamps, 4 monitor mixes with 4 iPhones

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Editor’s Corner

Loved the Soil...

JUL/AUG 2012

voL. 10, issUE 4

I was reading in the Old Testament the other day about a long line of kings in Judah’s history. The ones that followed God’s precepts and pressed into Him did well, and the ones that shirked God’s ways for the most part ran into big trouble. The 8 kings who did love God still had some battles to fight from time to time, but the big difference here was that when they listened to the Lord and went into battle - the Lord was with them.

Features
Product Review By Michael Hodge Roland G-5 vG stratocaster 43 Product Review By Doug Doppler Blackstar HT-Delay and HT-Reverb 44 Camera By Craig Kelly People Get Ready 46 Worship Team Training By Branon Dempsey The Classically Trained Pianist in a Contemporary Worship Band 49 Worship Musician Magazine 10th Anniversary Shure Give-Away 50 Mandolin By Martin Stillion Are You Washed in the Blood? 52 WorshipSong.com an Interview with Holland Davis by Bruce Adolph 54 A Few Moments With… By Tom Kraeuter Accolades and the Glory of God

Really good stuff… some of them were very young and still 10 From the Drummer’s Perspective had the wisdom to follow God and lead their country well. I By Carl Albrecht came across a short verse that I don’t think I have ever read Drum Rudiments Can Groove before. If I have read it I must of skimmed right over it and never gave it a chance to register. It was said of one of the good kings that he “loved the soil”. And out of that love for the soil 12 Keyboard he planted a lot of things… gardens, vineyards etc. I thought – By Ed Kerr wow- this guy pursued his passion. He seemed to have had a Clear the Way gift, or a “green thumb” and he liked walking out that gifting. It reminds me of a few well-known drummers I know (Zoro and 15 Bass Gregg Bissonette), they just love the drums and playing ‘in the By Gary Lunn pocket”. It is their passion! Go Back to the Beginning I was thinking through this idea as a devotional thought. What is the “soil” in our lives? What is the thing that we love to do? 16 Vocals By Sheri Gould Playing music pops up pretty quickly in my mind as I get to listen to it, talk about it, produce music events, and publish two Chit Chat magazines about those who do it… but as for me personally - I love making music. 18 Tips for Tight Teams

By Sandy Hoffman Am I the most disciplined player? Not a chance. With all I “Overplay,” You Say? have going on I put in a lot of hours per week. but I do get a chance to play guitar sometimes at night for Judy while she is cooking dinner. I always say, “I just have one fan of my 26 Songchart “Almighty God” music,” but as long as I can play for Judy, I am satisfied. A little by One Sonic Society secret about my guitar playing, it is mostly stuff I make up on the fly while I’m playing it. I like to just jump in with something and try and be creative and see where it goes from there. I 30 Record Reviews By Gerod Bass can’t remember a lot of what I come up with in this impromptu approach, but I sure do enjoy the process while it is in motion. • Bellarive I have some recurring themes and I am certainly aware of what • Bluetree people say about practice times as musicians… I have read it • An Epic No Less several times in this very magazine. But I also want to enjoy the • Deluge process of being creatively free to roam the fretboard and to try • Dan Macaulay new things. I do think sometimes about what one of the shirts we have at www.musiciansthreads.com says, “You Gotta Play Like 36 Ministry + Artistry All Heaven is Listening” and I try to remember to play to Him at = Profitability? times as my heavenly audience.
I love the guitar as an instrument of choice. The guitar isn’t an idol to me. I know it isn’t anything but wood and steel until
Continued on page 54

Creating your MAP™ By Scott A. Shuford What should Your Advertising Do?

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

38 Authentic Worship By Michael Gonzales 5 Ways to Kill a Worship Leader 40 Guitar Grab Bag By Doug Doppler Monkey Busyness 42 The Band By Tom Lane Leading Through Hard Times

Interview
20 The Unity, Music, and Community that is: One Sonic Society by Aimee Herd

WORSHIPMUSICIANMAGAZINE.COM JUL/AUG 2012

7

PRoDUCT REviEW

By Michael Hodge

Roland G-5 VG Stratocaster
A few years ago Roland and Fender got together and offered a Stratocaster with a built in Roland GK Divided Pickup system. I have one, and love it for programming since I am better on guitar than keys. You can also double stuff via midi and make cool layers behind chords and solos, quality Lithiums should run at least 10. adding Synth tones to what is coming out Out of the box: of the amp. For this review, I had the Black model Roland and Fender have teamed up again, with a maple neck. I was surprised that and the result is really cool! it arrived set up so well; literally out of The G-5 VG Strat is to guitar synthology the box with the intonation nailed and what the iPod was to mp3 players. It already in tune! I replaced the strings is streamlined, and does just a limited with my usual D’Addario EXL 110’s and number of things exceptionally. The G-5 had to adjust the tremolo springs for comes in two models. One is black with a the higher tension. The workmanship maple neck, and the other is sunburst with is really good. The guitar is basically a a Rosewood fingerboard. Both models USA Standard Strat with an alder body. have alder bodies, Fender vintage ceramic I saw the Mexico decal on the back of pickups, a 22-fret neck with medium jumbo the headstock. It’s actually not a Mexican frets and American inline tuners. There is Strat, but it is assembled there. The fret also a built-in Roland GK3 divided pickup job is great, and though the guitar weighs and a synchronized tremolo bridge. more than most Strats, it is not as heavy Focusing on just the guitar tones, the VG-5 as a Les Paul. The pickups sound really is powered by Roland’s Composite Object good. I usually replace them on any Sound Modeling (COSM) engine from the guitar I get with some custom wound ones. Overall, this guitar plays better VG-99. than most American Stratocasters that What is unique to this guitar is that you just I have checked out at the local Guitar plug in and play with a standard ¼ inch Center. cable. Of course, you will need a supply of AA batteries; there is a convenient pop On stage: out battery holder, requiring four at a time, Initially, I felt so confident in the guitar located on the back. The Alkaline batteries that I took it straight to the Lakewood in my experience last about six hours. Hi Church service to put it into action. One of the biggest issues I have at Lakewood is a horrible hum problem. I mean, it’s really bad! If you use single coils, you’re pretty much doomed. I have tried noise-reducing pedals and nothing seems to work well enough. You have to use humbuckers, and it is still pretty awful. I was blown away when I plugged in the G-5. In the virtual mode there is absolutely NO

HUM!!! This could be a perfect guitar for the Lakewood stage! The Virtual Guitar: There are two small detent black knobs on the VG-5 just below the tone pot. One is labeled “T” for tuning and the other is “M” for pickup model. The knobs have one letter per detent designating what that position does. The Tuning knob options are: standard, drop D, DADGAD, G tuning, Baritone and 12 string. The pickup Mode options are: Normal, which bypasses the electronics, Strat, Tele, Humbucker, and Acoustic. I really leaned on the Stratocaster setting. There is no tracking delay at all. COSM modeling technology is real time audio processing, and as such does not require tracking to work, since it does not have to detect and convert pitch and velocity into other data to trigger synths. Super hi tech! It was kind of weird to not have a delay or a hum! Super Stratsounding, definitely scooped, but still enough beef to cut through the mix. The bridge pickup is very bright and chimey. The Tele setting sounds pretty authentic, especially the bridge pickup, and to me the Humbuckers are very Tele Thinline sounding. The Acoustic setting is good, not great though; I’ve heard they sound great with a direct box. I need to try that. In the Acoustic mode, the Tone pot turns into a reverb control. I also discovered by moving the pickup switch around in that mode there are actually five additional instruments: Dreadnaught acoustic, single cone Resonator, Nylon string, Sitar and big body f-hole Jazz guitar. Impress your friends! I had a blast with the Sitar. With the alternate tunings, this is also a great guitar to practice slide on. Overall, the Stratocaster and Bari settings were my favorites. The Virtual Guitar was well received by band members and front-ofhouse guys as they commented on how
Continued on page 48

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JUL/AUG 2012 WORSHIPMUSICIANMAGAZINE.COM

From the Drummer’s PersPective

By Carl Albrecht

Drum Rudiments Can Groove
***There are lots of links to video examples in this article. I recommend reading this with your computer handy.*** How can the standard drum rudiments really apply to grooving? Well, there are tons of examples in all styles of music. And to show you a most recent example you should go to my web and watch the song “We Are Saved” by Paul Baloche. The guys asked me to use a sort of driving, military rock groove. I used the classic 5-stroke roll to start every bar of the verse groove. It’s played RRLL R. … The doubles are played on the snare and then it lands on the hi-hat and kick drum for the downbeat, or “1”, of each bar. Check it out - http://carlalbrecht. com/2012/05/groovin-the-5-strokeroll/ You can also go to iTunes or other digital servers to hear an example of the song. A 5-stroke roll in study or marching form is usually played with an alternating stick pattern: RRLLR – LLRRL. You can count continuous 16th notes - 1 e & ah, 2 e & ah; put the doubles on the first two syllables of each phrase, and end with an accent on the “&”. Rest on the “ah”. The doubles should be bounced, but controlled with the fingers. There are tons of video demos of this and other rudiments on line, so I have not done my own version, except what you will see me do on Paul’s video. *Here’s a little view of me warming up quietly at a sound check using some double stroke roll ideas, not just the 5-stroke roll. And there’s also a link to the full list of drum rudiments. Enjoy - http://carlalbrecht.com/2012/03/ fun-with-a-5-stroke-roll/ You can use traditional approaches to rudiments when applying them to music, but remember the goal is to make them work musically and not to get hung up on playing them “by the book.” I’ve written before about the importance of practicing rudiments. It’s foundational to every drummer’s growth as a musician. But, just as in any language, it still has to come from your heart when you are communicating. And that’s what music is supposed to be! It’s an artistic language that communicates or tells a story. If we’re just playing the technical part of songs without soul it just doesn’t seem to work. So be aware of how your drumming techniques and skill applies to the real world of music. Know the rules and techniques, but break them if it “feels” better for the song. snare piece for a good cause. You can download the “PDF” of the chart and watch us play this rudimental classic. “Three Camps” - http://carlalbrecht. On the song “My Reward” I used a com/2012/01/drummers-unite-for-asingle right hand pattern adding a flam cause/ . with the left hand, rather than trying to Even as I grow musically I try to discover play a classic RLRL pattern throughout. It the rudimental connection to everything didn’t feel right playing it like a regular I play. It’s not that I analyze everything single stroke roll. The right hand holding and try to pick it apart. I just want to the steady ride pattern on the snare know where something comes from and adding the flam accent with the technically. The language of drumming is left hand just “felt” right. Check it out - ever growing, but it’s fun to see how the http://carlalbrecht.com/2011/08/ fundamentals are still woven into what we my-reward/ think is a new and creative expression. Be aware that a flam should actually sound like saying the word “flam”. Don’t leave too much space between the notes. It should not sound like TA- DA, but SPLAT, or FLAM. :) I’m just sayin’… All of our drum heroes are masters of rudimental drumming even if they don’t speak of it very much. Even though I’ve heard Steve Gadd, Vinnie Colaiuta, Dave Weckl, and many others refer There are so many songs where we to the building blocks of drumming use the single stroke roll that it should and emphasize their importance, they make it obvious that practicing the basic definitely have taken them to a creative rudiments is essential to good grooving. and musical “mountain top.” Enjoy this The ultimate basics are a single stroke trio of drum gods going for it, AND listen roll – RLRL RLRL. / A double stroke roll – for the rudimental influences while your RRLL RRLL. / And a paradiddle. – RLRR jaw drops. - http://www.youtube.com/ LRLL. Of course all of the rudiments are watch?v=Ln6b_nBM-V8 . valuable, but they all seem to grow out of OK… enough said. After that I don’t the essential three. Songs like “Open The think there needs to be more explained Eyes Of My Heart”, “Hosanna (Praise Is about doing your homework with the Rising)”, and “Today Is The Day” are a rudiments. few examples of using a single stroke roll Blessings on your chops building… OH, as the primary feel of the groove. Check and did I say – USE A METRONOME! it out - http://www.youtube.com/ Press on, --- and PRESS ROLL. watch?v=xnelJ_PsHuQ . Traditional military drumming is very good for chops building. I wish that I had played in marching band when I was younger, but it was not available to me then. When I finally studied music in college I was very fortunate to study with a Julliard graduate and virtuoso percussionist, John Kasica of the St. Louis Symphony, and also a great jazz drummer in St. Louis, Kevin Sims. These two drummers really schooled me on the fundamentals of drumming, but always emphasized the ultimate goal of making them work for the music. I’m so grateful for their skill and hearts to mold artists, not to just teach me to perform the notes on the page. Both of them demanded that I pour my soul into every note. Thanks John & Kevin… Bless you guys! Recently I had a chance to join some fellow percussionists in the Nashville area to play a classic Buzzzzzzzzzzzzzzzzzzzzzzzzzzzzzz. Carl

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

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JUL/AUG 2012 WORSHIPMUSICIANMAGAZINE.COM

play by your rules

learn more at gen-16.com
Paul Kodish; Apollo 440, Jean Michel Jarre, Maximum Roach, Pendulum, Bad Company Pictured with his touring rig for The FRESH:LIVE Project.

©2012 Avedis Zildjian Company Photo By: Tina K

KEYBoARD
By Ed Kerr

Clear the Way
Well, we talked about it at our worship team practices. Some people resisted using the click. Some still do. But now that it’s been several months of us using a click in rehearsals (and services), we’re starting to see the “profit” that the Proverb speaks For years I’ve taught in worship seminars of. When we start our opening song we with Carl Albrecht. You know him. Writes know it’s going to feel right when the articles here. Records and tours with Paul chorus comes around. When we do a Baloche. Carl’s a great drummer. Great slow ballad like Kathryn Scott’s “At The friend. Great songwriter. Passionate lover Foot Of The Cross”, the lead singer can of God. And passionate about drummers stop being anxious that she’ll have to rush practicing with a click, a metronome. He through the words “and You’ve won my even takes the bold step to suggest that heart...” that set up the chorus. we could actually use a click during our worship times in our churches. Radical. And the drummers who play are saying I’ve taught with Carl for years in seminars again and again how they prefer playing around the country and wholeheartedly with the click and miss it when we don’t agreed with him each time he’s told the use it. Hello? Carl would be so proud! drummers in the crowd to practice with (Note: With my worship teams, I use a metronome. But then I’d fly home. And an app from Frozen Ape called Tempo. go to rehearsal. And wish I could get my Great for iPhone and iPad. Costs $1. Skip the mocha today and buy it.) drummers to play with a click. In my last article here I used lots of musical terms and notated several examples for you to look at. This time I’m going to stick with words. More importantly, I’m going to stick with the Word. Here’s where the Word comes in. Like me, you might memorize Scripture from time to time. Like me, you’ve probably seen that the Lord can bring those Scriptures back to mind and show you applications of their truth that you would have never expected. That happened with me regarding incorporating a click into my worship teams. Another Scripture that I’ve recently seen new applications for is Isaiah 40:3-5. It says, “Listen! It’s the voice of someone shouting, ‘Clear the way through the wilderness for the Lord! Make a straight highway through the wasteland for our God! I read, “fill in the valleys and level the mountains and hills” and am encouraged to be intentional about how the songs I present are connected. We all know what dead air is, right? Those awkward moments between the end of one song and the beginning of the next when there’s uncertainty on stage about who starts the next song, or what the right tempo is, or not being able to start until you flip a chart over on your music stand. Fill in the valleys. Level the mountains. Do what you have to do to be ready for those transitions. Plan out harmonic transitions. Have the drummer keep some cymbal swells going to mask a change of key from song to song. Whatever you do, be confident in each part of your presentation. Remember Prov. 14:23? Don’t just talk about these things that you’ve seen to be issues. Work on them. And the Scripture says, “smooth out the rough places”. You know what they are. Work on them. The most encouraging part of this section of Scripture is the last verse where it says that after all these things have been done the glory of the Lord will be revealed. All the people will see it together. I love the thought that the work you and I do to present our songs with musical excellence leads to the amazing possibility that the glory of the Lord can be revealed as we gather to worship. All people will see it: The glory of God. Our rehearsals, our individual practice on our instruments, and our efforts to eliminate awkward musical moments can facilitate the glory of God being revealed. I long for that and I know that you do, too. Let’s do the work and see God bring the profit of knowing His Presence.

Fill in the valleys, and level the mountains and hills. Straighten the curves, and smooth out the rough places.’ Then the The Scripture in this case was Proverbs glory of the Lord will be revealed, and all 14:23. It says, “All hard work brings a people will see it together. The Lord has profit, but mere talk leads only to pov- spoken!” erty”. For me, this related so clearly to Several phrases in these verses validate the click situation. The poverty we were musical issues that I consistently find chalexperiencing wasn’t anything to do with lenging. I read, “clear the way through money. It had to do with landing on the the wilderness” and am reminded that it’s right tempo from the opening downbeat really important for everyone in the band of each song. It had to do with want- to be thinking about what they’re playing. ing to reach a chorus and not think “Oh Clear the way for important melodic figman, we started this one WAY too slow” ures to be heard on intros. If that melody’s or “I cannot possibly pronounce all these played by an electric guitar, keyboard words at this tempo!” players should avoid melodic activity that Let me make it clear that it’s not just drummers who benefit from using a click. There’ve been way too many times I’ve given the count-off to a song and realized after a few bars that what we’re about to play isn’t going to be pretty. Hear what I’m saying? We all need to practice with a click. Not just talk about it. Do it. would compete. Clear the way. Clear the way for the vocals to be prominent when they enter. Guitars, keyboards and any other melodic instruments need to consider carefully what they play. Again, clear the way. Make it effortless for your congregation to hear the melody you’re inviting them to sing.

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

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BAss

By Gary Lunn

Go Back to the Beginning
Do you ever have those moments where you look down at your hands and wonder why you are playing this semi-electronic plank of frets, metal-wound strings, and back pain? I think we have all been there. Everyone from musicians to dieters have reached a plateau at some point in their personal plight. Whatever your incentive (or lack thereof), it might be time to get back to your own “first” motive to give yourself a little “locomotive” boost and get yourself re-inspired. It’s good to remember the very thing that first made you say, “I want to play the bass.” It could have been a song on the radio, a CD, or seeing someone in a band when you were very young. I remember the first time I heard Chicago’s “25 or 6 to 4” on the radio, I knew immediately that I wanted to play the bass. Shortly after that experience, I was given my first album, which was Abbey Road by the Beatles. Paul McCartney pretty much sealed the deal for me. Early in my seventh grade year I heard the flip side of “Money Runner” (From the movie “Dollars”), which was a song called “Money Is”; it was produced by Quincy Jones and sung by Little Richard (it’s on YouTube). I believe it was Chuck Rainy playing bass on that song and it really inspired me. He did things on the bass that I never thought possible. Finding the reason for your initial interest in the bass is something that you’ll always have to hold on to. Reminiscing is not a bad thing when it comes to something like that. Also, try to remember the details of an amazing time you have experienced in a live setting, in worship, in the studio, or even when you had a breakthrough in your playing ability. Reaching a new level in your musicality is always such an incredible encouragement, and reminiscing about those times can bring all of that encouragement back and help you get “unstuck.” some of those old recordings. It will help you get the artistic juices flowing again. A few of the earliest inspirations who greatly influenced my style of playing might be worth your time to check out; you may also be inspired by these amazing players. I listened a lot to Paul McCartney (The Beatles) and Peter Cetera (“vintage” Chicago) for their melodic bass lines. Chris Squire (Yes) for the incredible voice he created for the bass, (The song “Roundabout” with Chris’s Rickenbacker sound still amazes me), Larry Graham (Sly and the Family Stone, Graham Central Station) for pioneering slap-bass, Mark King (Level 42) for speeding slapping up to “light-speed,” and David Hungate (Toto) for showing us all how to not only lock perfectly with a drummer, but how to compose a bass part all the way through the song. Jaco Pastorious and Pino Palladino were my first serious fretless influences, and I sure “borrowed” a lot of lines from Jimmy Johnson (he played with James Taylor for many years, but had incredible jazz projects of his own). As one of the most “have-it-all” bassists, I love everything Marcus Miller has ever done. From chops to pocket, he is one of the most balanced bass players I have ever heard. When I first heard him slap “Teen Town” I was totally blown away. His solo CD’s are amazing contributions to the funk-jazz world. allowing you to compose entire tracks with just the bass. It’s a lot of fun, and can be quite impressive in a solo situation. This is guaranteed to inspire you to write something. Financially speaking, I know that times are tight for a lot of people, but a new bass is something to consider for some good inspiration. The feel of a new instrument in your hands can be a driving force toward the creation of new bass lines and changes in your approach overall. The feel of a new “old” instrument can as well (if one is in your budget). There’s nothing like a 70’s Fender Jazz bass or Fender Precision Bass to get the creative juices flowing. (My ’71 “P” feels and sounds like an old friend that will always be there when I need him for solid musical inspiration and foundation.) Real ’70’s Fenders (that haven’t been altered in any way, especially when they’ve not been refinished) are typically in the $3000 range. There are a number of amazing luthiers that are building bass “relics” that look and feel much like their original counterparts (www.danocaster. com makes great, vintage-authentic guitars). They also usually come loaded with vintage sounding pick-ups (www. fralinpickups.com) that don’t have the buzz/hum problems that the real ones do. The best thing that we can do for ourselves is to be thankful for every good and perfect gift that He has given to us to develop. The inspiration and creativity that we grow in ourselves makes a way to give back what has been so freely given to us. Be richly blessed!
Gary is a session player/ producer/writer in Nashville, currently playing for Lindell Cooley, MMI, home recording, and many recording session accounts, attending Grace Church in Franklin, TN. Contact him for sessions or over-dubs at lunnbass@aol.com. www.facebook.com/garylunn, www.gracechurchnashville.org

Something else to consider when you’ve got a case of bass “writer’s block” is to try out some new gear. Go to your local music store and try out some of the latest bass effects/processors. Compressors can make you sound more aggressive. Distortion devices can inspire you to play in different melodic fashions. Digital delays can make you feel that you can play more by actually playing less, and a deeper understanding of delay times can help you manipulate melodies in new and different ways by playing along with what you just played and harmonizing Something else that might help you to rise with yourself (guitar players do it ALL the above a plateau is to go back and listen time). Looping devices can inspire you by to some of your earlier bass influences. helping you learn how to create layers If you can, maybe even play along with of counter melodies and rhythmic ideas,

WORSHIPMUSICIANMAGAZINE.COM JUL/AUG 2012

15

voCALs

By Sheri Gould

Chit Chat
I am a vocal coach. My job is to teach people how to sing, or perhaps become better singers. At least that’s what I am supposed to do. However, very often, when I come upon someone in need of vocal assistance, it’s likely time for a complete vocal assessment due to some kind of vocal problem. I am not a doctor of course, but I spend a good deal of my time trying to help people assess whether or not they have vocal damage, what kind they may (or may not) have, and how they most likely got it. This has become a sad reality in my practice. Twenty years ago, I rarely saw vocal damage. Now I see it on almost a weekly basis. I believe that this upsurge in vocal damage is a direct result of our “new singing lifestyle”. By this I mean a number of things, not the least of which is the style in which so many people, influenced by pop culture, are now trying to sing. I have outlined many of these issues in previous articles and if you’re interested in more on the subject of vocal damage, please feel free to email me and I can send you information and answer any questions you may have. For this article though, I want to focus on a huge contributor to vocal damage that has nothing to do with actually singing (other than the fact that it affects the singer’s ability to sing): SPEECH. Most people are surprised to find out that if they are evaluated and found to have vocal damage, the doctor in charge will typically prescribe speech therapy. Many people are put off by this and may even find it silly, inconsequential, or a waste of time. And because it’s often not covered by insurance, many people skip this very important step and instead rush off to find a singing teacher that can help them with their “real” problem; the fact that they are having trouble singing. This is a big mistake. The way we speak is often the biggest culprit with regard to vocal damage and without fixing it one may never find the solution they are looking for—even if they improve their singing technique! It only takes a minute or two of thinking to realize the connection between speaking and singing. Another minute or so and you may see the connection from your speaking voice to the singing problems you’re having. No matter who you are, or how much you sing, there is no doubt that you talk more than you sing. This is why the first thought that an ENT (ear, nose, and throat doctor) has is, almost always, to help you re-learn how to speak in a more healthy fashion. Here are a few things to consider: The Type and Amount of Speech Additionally having a very small speaking range can also be wearing on the cords because it puts stress on the same area of the cords over and over—often with force if you tend to employ a lot of glottal stops in your speech. (A glottal stop is when the vocal cords are held tightly together preventing vibration. A common example would be the typical voicing of “uh-oh”) Speech Therapy-Really? So what does speech therapy teach you? In a nutshell, it teaches you how to speak the way you sing! You learn to use proper breath support, tone placement, and how to change the registration of your voice. If you are singing correctly, you need to be speaking in a way that is very similar to the way you sing. In part for this reason, I recommend to everyone who sings: WARM UP EVERY DAY, even if you don’t plan to sing. Warming up reminds you to think like a singer. It will remind you to use your diaphragm for support, and to place your tone correctly. Here are a few tips to help keep your speaking voice healthy and strong.

The first thing we need to take into account is how much we use our vocal cords for speaking. Depending on your lifestyle and job, you may have a tendency to speak more or perhaps less than average. If you are someone who is speaking all day long in a classroom or on the telephone, not only are you speaking more hours but you are likely speaking at elevated levels as well. I once read that for every 90 minutes of vocal use, you should rest the cords for 10 minutes. This is something to consider. *Support your speech from your Everyone who thinks of themselves, at breathing muscles-not your throat. least to some degree, as a singer should *Vary the pitch of your voice frequently. be aware of their voice and how they are using it--being careful not to overuse it. *Place your tone in a healthy place— There are other, perhaps more obvious, not always in a throat or chest register. things that are harmful as well. Continued *When you need to project, raise the coughing, clearing the throat, yelling, pitch of your voice. A higher pitch is more shouting, etc are all form of vocal abuse. easily heard and will require less volume. Even laughing out loud for extended periods of time can have a dire effect on *Find time to completely rest your voice the voice (sad but true!). So take stock of (total silence). how you use your voice on a daily basis *Condition (warm-up) your voice daily. and take note of what things might be God bless you as you strive to preserve causing or adding to any singing troubles your voice to be able to serve Him better!! you may be experiencing. How You Speak The other important aspect with regard to speech is the way you speak. So many folks have a really unhealthy approach to their speaking voice. It’s often situated in the lowest part of their range and powered by muscles in the throat. Both of these things can add undue stress.
Sheri Gould is an internationally acclaimed vocal coach. With a degree from the University of Ill, she has been coaching since 1979 and leading worship since 1985. For weekly vocal tips, check out Sheri’s FB page at www.facebook.com/officialsherigould. For information on products, including instructional DVDs, check out http://sherigould.com

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JUL/AUG 2012 WORSHIPMUSICIANMAGAZINE.COM

KH 120 Studio Monitor

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TiPs foR TiGHT TEAMs
through good direction and agreeable, diplomatic communication. We discuss in rehearsal which parts to keep and which ones are over the top. We snip and trim until we arrive at clean music arrangements based on professional paradigms. We create space and time within our tunes for dynamic expressions of worship. In this way, we build interesting arrangements, ranging anywhere from single instrument accompaniments to all-stops-out jamming. INSTRUMENTAL SPARSITY VOCAL VARIATION &

by Sandy Hoffman

“Overplay,” You Say?
“We’ve all been overplaying our instruments!” she exclaimed. One of my students during a session in a recent Worship Works! Workshop enjoyed this great revelation. “We sound so much better when each of us plays or sings less and leaves room for other team members to contribute as they’re inspired. It seems to make the entire experience more satisfying. And instantly, we sound like professionals. Wow! All we have to do is: don’t!” Bingo! The light bulb illuminated, and the class was well on its way to understanding team dynamics and the under-fruitfulness of overplaying. “Overplay,” You say? “Lick hogs,” be gone!! What an exciting moment when worship musicians grasp the concept that no individual has to be the whole band. We get to enjoy the pleasure of contributing to the big “praise picture.” At the same time, we relax and appreciate the contributions of the other worship musicians around us. Whew! What a relief. The weight of the entire worship ministry is not upon a single set of shoulders. It should be evenly distributed among all team members, and consequently becomes bearable for both the player/singers and the listeners. No one is covering all. When each-oneplays-less, worship becomes a total team effort. The result is a sparser, cleaner sound, uncluttered by overplay, and rendered effectively non-distracting. That’s when we point to Jesus! THE CHINESE CELLO CHAPTER There once was a Chinese cello. It was a lovely little instrument, well crafted with a reddish hue in the finish. On stage, it fairly glowed in the glare of the bright spotlights. But the poor thing had one very sad and distinguishing quality: it possessed only a modest, quiet little voice. For months, the ambitious cellist tried to integrate this soft-spoken instrument into the piano trio with which he played. With his right arm he bowed the strings as hard as he could, working aggressively to force more volume from the instrument. Blisters and callouses developed on his thumb and index finger as he applied every bit of downward pressure he could muster. No improvement. He made longer, more intentional bow strokes. Still the cello-voice became no louder! The more he overdrove the instrument, the less it seemed to respond. Instead, it seemed to shut down, resistant to the demands of the player. Frustration had nearly established itself permanently when one last solution came to mind: “What if I lighten up and allow this decibel challenged cello to sing with it’s own sweet voice in it’s own sweet way? Rather than try to force more sound out of it than it actually has to offer, why not gently coax it to be the best it can ever be?” Suddenly, from the shy little violoncello, there arose a beauty and authority of sound, which was never before imagined. The transformation was accomplished, not by playing more, but by playing less!

Finally, let’s remember that music consists of both notes and rests. These share equal importance in any musical endeavor. “Resting” should not be considered an insult or a demotion to any worship team member. Rests provide for the creation of more moving song arrangements. They are built-in boundaries, which help to keep us from overplaying and over singing. Like any other great musical composition, worship songs include Is it possible our worship teams could alternating periods of silence, which add learn from this challenged cello? Are to the drama, expression, and dynamics we filled with wonderful potential, but of the worship time. overplaying and singing to compensate for some perceived limitations, real or Always be aware that the more players imagined? Maybe all we really need to and singers who are on the stage at any do is lighten up and allow the team to be, given time, the less each one needs to like the cello, it’s “own sweet self.” True contribute to the overall production. No professionals understand the importance one needs to stick out like a sore thumb. of not overplaying. Why can’t we, who No one should behave as though they are mostly amateur volunteers, apply that have a monopoly on stage presence same wisdom and enjoy the profound or volume. Everyone has an open door transformational benefits? I believe we to express the depths of their passion for Jesus in an orderly, musical manner. can! There’s no grandstanding, posturing, or THE PRODUCER PRINCIPLE drawing attention unnecessarily to the In recording, the producer is the one individual. Instead, everyone is blended, who gives overall vision and direction to deferred, and unified, drawing attention the project. Have you ever watched an to Jesus. It doesn’t get any better than that! experienced producer work in the studio? When we apply instrumental sparsity One of the giftings you’ll observe, which and vocal variation to worship settings, seems common to the best producers, is overplaying disappears and distractions to know intuitively just how much of what are eliminated in favor of musical polish is recorded to actually keep in the final and the pursuit of the One who created edited product. The “producer principle” us to worship Him in the first place. We is this: allow musicians in the studio to should never feel awkward on stage about create, imagine, and yes, overplay. simply hanging out in His presence. Even Record multiple takes of solos (instrumental if our particular musical part, by virtue of and vocal). Capture thick layers of rests, doesn’t come in ‘til half way through background vocals and doubling. Go the song, we are still leading others into a bit overboard adding percussion worship—if only by our countenance and instruments, guitar and keyboard fills and our obvious passion for Jesus. And that’s licks, special effects, etc. The experienced enough. producer understands that after the Resting in Him, sessions are over, and the creative dust Sandy has settled, there will be time to listen, consider, and edit all those overplayed/ over layered tracks into a sparse, clean, Sandy Hoffman serves professional presentation, worthy of the the worship community in producer’s reputation. Santa Fe, NM Why not apply this producer principle Find out more about his to our own worship teams? Working in “Tips for Tight Teams” online at: the slightly different context of rehearsals, www.WorshipTeamWork.com let’s allow for a bit of overplaying and singing. We then edit out the excesses

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The Unity, Music, and Community that is:

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JUL/AUG 2012 WORSHIPMUSICIANMAGAZINE.COM

ONE SONIC SOCIETY
My platform that I came from was; Delirious you know, and Hillsong you know... For me, I fell in love with music singing old Vineyard songs around the campfire on a beach in California. I fell in love with the Lord through that. Ever since then, leading worship has been the thing that I hold closest to in my life. But, it’s not the thing that people know me by, because I went on to have success writing songs for radio, and other artists, and producing records. But, all along I’ve been serving in my local church. So, I was looking for guys that I could share like heart and passion, and who Aimee Herd: You three hail from I enjoyed and they enjoyed me. And different continents, what brought you all then to start thinking about setting aside a together in the first place? certain amount of time to lead something Paul Mabury: I guess Jason was that’s for me, and personal, and for the the centerpiece there; he reached out Church. to me and reached out to Stu, so it was We all had that peace that we needed— his efforts that brought us together. I God had to connect the dots, but—we all met Jason in 2003 or 2004, through a shared that same vision and peace. After function doing Hillsongs-related music in that, we had three guys, from 3 different Nashville. That was the beginning, and continents who didn’t know each other though neither one of us talked about it, for most of our professional careers who we both knew we would have things to have become the best of friends, and do together in the future. our families are tight. It’s kind of weird When I actually moved here from how close I’ve gotten to Paul and Stu and Sydney, several years later, I didn’t really their families—and them to mine. But connect with Jay for a while, but one it was certainly a God thing, how it all day we bumped into each other at a happened. showcase. From that day on we started As we talked and shared that like hanging out a bunch and eventually Jason vision, starting to record music and write called and asked if I wanted to meet up together just came naturally. We didn’t with him and Stu, to talk about coming ever really talk about being a band—we together on something. That was how it were never that formal. We were having all came together. fun talking over lunch, the next thing you Stu G: When I knew that Delirious know we’re having fun writing a song, was going to finish, I started to come and the next thing you know we’re having to Nashville, just to hang out and see if fun recording a song! (Laughs) But that’s Nashville was a part of the future for me. sort of the beauty of it. One of the people I met with was Jason— The thing I love about OSS (One Sonic we really connected and did some Society) is that I’ve done a lot of things writing. He was telling me that he really in my life that felt like striving and work; had a heart for the Church, and to serve this really feels like the opposite of that. the Church with songs. One conversation With OSS, because God had already led to another, and we ended up meeting provided for us with the other things we with Paul. Maybe Jay can take it from were doing musically; this was just a way here... to put something in the “offering plate”— Jason Ingram: How this ended up not striving, not worrying about it working becoming something was just through or winning—just putting it in the plate. It talking and becoming friends. We gives us freedom to maybe not look at had two desires: one was just to make this the way I would have had to if I was music together—we’re all fans of each pursuing it as my career or profession. other. The other piece was; for all of us AH: It’s cool to see what God is doing professionally, we all started in the church, with OSS. It’s casual and yet effective, in a church-focused way, musically. And because you all have that singular vision then our careers had grown, but none of writing songs for the Church. Speaking of us was able to just focus musically on of music for the Church... when you look what happens in church. I was blessed to spend almost an hour recently, chatting with Stu Garrard, Paul Mabury, and Jason Ingram about the unique bond of friendship-mixed-withmusic that they share. I have a feeling that even just 5 minutes would have given me an idea of the passion for their collective vision of serving the Church with songwriting. But even more than that, it was very special to get a glimpse of the life-tapestry God seems to be weaving between them and their families—not unlike a band of brothers… or One Sonic Society. around at all the different contemporary worship services and the songs that are used there, is there a kind of worship song, either lyrically or musically, that there needs to be more of? For example, as you’re writing these songs, is there a particular element that you three feel drawn to include in the writing of your songs? PM: I’d say one thing we’ve been saying to each other when we write is to make it more God-focused—God is great, and His goodness—and less about ourselves. Yeah, for a while there were a lot of songs being written that were: “I will this, and I will that...” And I think we’ve got to make a conscious effort to write songs about His greatness and what He’s done. AH: I’d have to agree with that. And maybe that’s what really struck me first about your recording “Forever Reign.” Every single song really led me to a place of worship. PM: That’s great. SG: Awesome. JI: The other thing I’d say about the writing process, there’s that moment when you’re trying to write, and you’re working up through ideas. And then there’s that moment when the song becomes personal, like it matters to you. In Nashville—just because this is a ‘song town’ and people write songs every day—people don’t wait for that to finish a song. They’ll just apply the craft and get a good song. But when it comes to writing songs for the Church, I just can’t put my “writer’s cap” on and write a song. …Because I’m always waiting for that moment when the song really matters to me. I think that’s true for all three of us. So, for better or for worse, our album has songs on it that matter to me as someone who sings songs to God. You know? Because they’re prayers of adoration and prayers of need... I would call our songs very confessional in order to put in our hearts and on our lips the things that are true about God. I want to sing them because they put God in His place and put all my problems in theirs. AH: And that’s what is life-changing in the end. PM: Yes. And I think one thing we always do together when writing is we try to put ourselves in the place of the congregation—the people of the
WORSHIPMUSICIANMAGAZINE.COM JUL/AUG 2012

by Aimee Herd

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one sonic society: by Aimee Herd

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church—often physically, like we’ll walk around and pop out a line of a song... If the music’s not conveying the right idea or it’s not moving, we’ll change course until it is. We also put ourselves in the position of leading a song, as worship leaders, thinking “is this a melody that’s easy to teach, or easy to sing?” And if it isn’t, then we change it. It’s a little bit nuts and bolts. SG: It’s true, yeah. PM: Writing for the church is not just about a great melody or being super creative, but we also want it to be effective in taking people’s focus off their problems and onto the Answer, who is Jesus. That’s in the back of our minds all the time. And what we write comes out of our time together with God.

how most of Almighty God was written. Again, I want our songs to be putting truth in people’s mouths, hearts and praise on their lips. There’s no better way to ensure that than to just sing Scripture. And, to AH: Since we’re on the subject know that there’s power in that. It’s never of songwriting; do all three of you a mystery to me when someone says, collaborate, or is there one who primarily “Man, Almighty God really reached me writes, musically and lyrically? How and I really connected with that song.” does that work? It’s not a mystery because that song is JI: Because we’re all involved with the primarily God’s Word, and it has power. people who are making the music that is And, talking about things we want to say affecting the church; one of us is usually in songs... we live in a world that’s very working with one of those groups. So shaken and uncertain. So, to write things we see our platform as a way to bring like “Almighty God is our fortress and He all those people together. So it’s not is with us, we will not fear even when always all of us together writing. It might the mountains give way and fall into the be that one of us wrote a Passion song sea...” Worship is a way to come into or a Hillsong song, or something like that holy place and find joy, peace, and that. We’ll bring those in, get behind rest, though—for now—it’s not complete, them and be about community, which is but knowing that there will come a day a big deal to us. But, we DO do a lot when it is. of writing together—the three of us in a AH: Another song that grabbed me room—we try to keep a balance, so it’s kind of “both—and.” It’s also important to was “Burn,” and especially the lyric that us to support someone else’s platform, to said something like “God, write me into get behind it and say “yeah, we support Your story.” What a great way to say that. that,” and connect in that way. JI: Paul was not able to be here with us, AH: Your album, Forever Reign, he was on an airplane. And, because he came out in January of this year. Pick a couple of songs from the album that have wasn’t here, he wanted to just put down impacted you in the writing or recording, some thoughts. He emailed me and and talk about them. In listening to said, “Hey, I’m sitting on an airplane, it, one song that really moved me was sorry I can’t be there but here are some thoughts...” He sent me: “burn away my “Almighty God.” virtues, may there be just You in me. Lord, JI: That’s awesome, because that is an write me into Your great story, Lord write important one to us. We just did a live me into Your great song. take all I have, recording about two weeks ago, and we it’s for Your glory...” that whole thing! I weren’t able to put all those on it, I think read that and I was wrecked. I had been we did about half. But, “Almighty God” thinking a lot about story and songs. was one that we made sure we did on the live project. The thing about that song My life is all about songs, as a is that most of the lyric is straight out of songwriter. I’ve been doing it for a long time now. Then Donald Miller had a book Scripture: Psalm 46. that came out a few years ago called, Here’s a glimpse into the songwriting of “A Million Miles in a Thousand Years.” it: Paul had started a beat, and Stu was It really moved me to start thinking about playing a guitar line. I had my Bible open our lives and the stories we’re telling, and and Psalm 46 in front of me, and I just about God. All of this was going on in started singing that Psalm over what Stu me when Paul sent that email saying, and Paul were playing. That was really “Lord write me into YOUR great story,

write me into YOUR great song...” It set my life straight. I don’t want it to be about my song, but about the song that God is singing. It’s a position song because it puts us in the right place. (Talking to Paul) Those quotes have been my status on Facebook ever since you sent them to me! (Laughing) AH: Wow Paul, I wish I could have thoughts off the top of my head like that— pretty deep! PM: (Laughs) Oh yeah, those things happen to me ALL the time (sarcastic)! AH: Right. So Jason, you mentioned the live album you just finished recording. I know you all were excited about that. Talk about that a little; I heard the audience was made up of about 60 local worship leaders... JI: Yeah, we wanted to do a live album. We’d done these three EPs and then the full-length album Forever Reign. But ever since we’d started, we really wanted to make music that was recorded live, because I think it’s the most effective in communicating the soul of what we’re trying to accomplish. When it came time, we started trying to think of a way to do it that was a bit different than the way everyone else was doing it. The live albums that Passion and Hillsong are making are just off the charts, but they’ve got 30-40,000 people singing with them at these big arenas. We can’t do that, so it led us to thinking about doing a live album that was not recorded in a church. We went down “Music Row” in Nashville, and got a big studio with a really big room. We came in with a band and rehearsed the songs for a couple days. And then we invited worship leaders—we just put it out on Twitter—it was really awesome. During the day, we ran the songs by them with acoustic guitar, and then at night we had our service and recorded the whole thing. It was small—60-70 people gathered around in an environment that was just really raw. But the spirit of it sounds like what we envisioned. ...Really alive, really

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live recording in Nashville if he can make it; it was in five days. Paul, do you want to take over? PM: Yeah, so the night before we were recording I picked up my iPhone and saw a message from Jeremy on Facebook that it originally would have cost him $1,200 to get there, but that a bunch of things happened and that the Lord worked it out that now it would only cost him $10 dollars to get there, and was it too late? I messaged him back—it was 1 am—that it was still on and please come. Anyway it turned out that he was already here!

PM: I use older drums; I have an old Ludwig drum kit. For most of the OSS things we’ve done, including the live recording, I use a 26” kick drum, 13x10 rack tom, and a 16x16 floor tom, and then a Black Beauty 14x6 snare. I have two 16” crash cymbals—I use Constantinople cymbals. I have a 20, 22 and then sometimes I use a 24, and that’s about it. I just hit things and want them to sound good! (Laughs) AH: Stu, one more thing if I can take a couple more minutes. I did want to ask you about the adjustment and transition that you’ve had to make, having been all those years with Delirious—that coming to an end and then you moving across the pond to the States... And then, the unique bond that’s developed with OSS, can you speak to that for a moment?

raw, and really exposed in a way that just feels really beautiful and honest. AH: Something very special happened while you were recording that night regarding one of the people in the audience...I think his name was Jeremy. JI: Yes. Here’s the story of Jeremy. About 7 days before we recorded our live project in Nashville, Paul and I led worship at a conference; we sang about 4 songs and the whole time there was this man’s voice that sort of filled in the spaces and ad-libbed the melodies, but not in a distracting way—in a beautiful and moving sort of way. I lead all the time and never really notice “one” voice in a crowd, but this one, every time I would hear this voice I was moved emotionally with the sense of worship on it. After we led I asked Paul, “Did you hear that voice?” Paul said, “Of course, I couldn’t keep my ears off of it, and then I saw who it was and I kept looking at him because it was just so amazing.” He told me it was the “guy with the dog.” I didn’t really think about what he’d just said, and then we went back up to teach to the same group of people that we’d led worship for. After a while I started thinking about that voice again, so I asked them if they’d heard that voice that was so moving and they all acknowledged having heard him. Paul said, “I’ll tell you who it was, it’s the guy right there with the dog and the coca-cola.” (Laughing) Once I saw him, it made sense because he was obviously blind and had his dog with him. So, after the session we went up to him to make sure we hadn’t offended him by pointing him out, and got to know him a little; his name was Jeremy. For the next couple days Paul and I just couldn’t get him off my mind, and he had since friended Paul on Facebook. I told Paul we needed Jeremy at our live recording, I wanted his voice and that presence [on the recording] because it really created such an authentic and amazing atmosphere. So, Paul sent Jeremy a Facebook message—Jeremy lives somewhere near Washington DC— telling him we’d really like him to be at the

SG: Yes, it’s been a massive adjustment for me and my family. We finished something that was 17, 18 years long, and then dived headlong into moving and Now, because Jeremy is blind, he’s beginning something new. It’s a whole completely uninhibited when he worships journey-story of itself. It’s awesome how the Lord, and he doesn’t worry about how God really is so faithful and He’ll bring people in your path that you really need he’s coming across to someone else... in your life. I’d say this connection with SG: Yeah, and it made me feel like Paul and Jason has been an awesome that’s how it should be for all of us. God-appointment for me. This isn’t just We shouldn’t care how we look, there about music; we’ve always said that we shouldn’t be a “cool” way to worship. The became friends first. Just hanging out way he responds to God and celebrates with each other is so life-giving, and I with his body and soul is truly inspiring think we’re each other’s biggest fans! If to me—and challenging. He’s a real joy they succeed, I feel like I’m succeeding, and I’m so happy that he’s in our lives. if they’re struggling with something, I get I’m really grateful that he is a part of the down in the ditch with them. And, it’s the recording, it’s super cool, he’s singing all same the other way around. over the record, that’s for sure! (Laughing) The name; One Sonic Society, it really AH: Oh that’s great, then we get to does sum us up in terms of having a hear him too—awesome! unified vision—it’s like we have one PM: It was just a real privilege to have voice. We’re really into making records, him there—he was a very special guest. that’s the sonic aspect. And community; we’re a community with each other AH: For Worship Musician! Magazine, and our families, and in so many other we always try to mention some of the gear ways. That was another reason we artists are using since most of our readers wanted to bring worship leaders to our are musicians themselves. What is the live recording, to reinforce that communal gear of preference between you three? aspect. We have such privilege with JI: I’ll go first because I’m the easiest. I making records, but there are people play a Collings acoustic guitar and I love out there who are leading worship week it. Other than that I don’t have any gear. after week, and we just want them to know that we’re behind them. …And, SG: The amps I use are a Marshall to provide a place where they can come Bluesbreaker, and a Vox AC-30. Taylor for help if needed. One Sonic Society, guitars have been very good to me, and for me, is a really life-giving and beautiful I’ve just recently gotten a classical guitar. thing. This whole experience has shown I play a Duesenberg electric, and I’ve me that I’m not in control and I shouldn’t got an old 1930’s Dobro that has really be—God is in control and He hasn’t let become part of our sound. And a bunch us down at all. I’m really loving what we of pedals, which is too long a list to go do—loving it! into right now. Because we don’t always Catch some of the One Sonic have a keyboard player, I do try to create some ambient loops and pads behind Society passion at their website: what we do, and I use a DigiTech Jam OneSonicSociety.com Man for that.

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Almighty God
www.praisecharts.com/15404 Tempo = 84 : Key = Bm
Ke y of Bm

Intro Bm / / / | / / / / | Asus / / / | / / / / | Gma7 / / / | Em9 / / / | Bm / / / | / / Verse 1 Bm2 Asus Gma7 There is a river, there is a refuge for all Em9 Bm2 Who come in need of help Asus There is a river Gma7 Em9 Bm2 Asus A holy place where the Most High dwells Chorus 1 D Asus A D2/F# Almighty God is our fortress He is with us G#sus God is with us Verse 2 Bm2 Asus There is a river, that's over - flowing Gma7 Em9 Bm2 The presence of our Lord is here Asus There is a river Gma7 Em9 Bm2 Asus Join with us as we draw near Chorus 2 D Asus D2/F# Almighty God is our fortress, He is with us G#sus God is with us D Asus Almighty God will not fail us D2/F# G#sus He is with us, God is with us

Bridge G We will not fear A D/F# We will not fear though the earth give way G He is strong to save G We will no fear A D/F# We will not fear though the mountains shake G G2 He is strong to save Chorus 2 (2x) End Bm / / / | / / / / | Asus / / / | / / / / | Gma7 / / / | Em9 / / / | Bm
© 2010 Sony/ATV Timber Publishing, West Main Music, Windsor Hill Music, Stugio Music (SESAC). All rights on behalf of Sony/ATV Timber Publishing, West Main Music, Windsor Hill Music and Stugio Music admin. by Sony ATV., Sony ATV Cross Keys Publishing, Mt.Roskill Music, Jon Thatcher Publishing Designee (ASCAP). All rights on behalf of Sony ATV Cross Keys Publishing, Mt. Roskill Music and Jon Thatcher Publishing Designee admin. by Sony ATV. All rights reserved. Used by permission. CCLI Song No. PENDING. By Jason Ingram, Stu G, Jon Thatcher, Paul Mabury
Bm x As us xo o Gma7 oo Em9 o ooo x Bm2 o D xx o

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A x

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D2/F# xo o

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G oo

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G2 oo

xo

G#s us x

D/F# oo

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Bellarive The Heartbeat 1. Heartbeat 2. Love Has Found Us 3. Hope Is Calling 4. Taste of Eternity 5. Measures of Rest 6. Sing 7. The Father’s Heart 8. Here We Are 9. Tendons (The Release) 10. Shine On 11. I Know You 12. Stories Orlando-based progressive worship collective, Bellarive, (which means beautiful river) is set to release their debut worship album, The Heartbeat on June 19th. With a progressive rock foundation that is somewhat similar in style to the late great David Crowder Band*, Bellarive weaves a very expressive and original tapestry of cutting-edge worship that points a broken world to loving God. This album uses an abundance of instrumentation, whether it be organic or synthetic, to creatively build what is an amazing offering of vertical worship songs that will move your heart and challenge your faith. Lead singer Sean Curran’s vocals resemble Leeland as they cut through the vast expanse of instrumentation to deliver the truth of Christ to a hurting world. This is an expressive record full of hope and comfort for a generation that needs plenty of both. Rest” are pure vertical worship songs that speak of the certainty of our future as children of the King. “Sing” is an incredible instrumental track that is based on the Doxology that really shows the musical prowess and creativity of this group. The song is over 4 minutes long and even though not one word is sung, the music paints a visual picture of the majesty and power of our God that you can’t help but get lost in. The writing on this project is so good. There are phrases and ideas of worship that I had never heard before. That is nowhere more evident than on the song that brings us back to the theme of the album, “The Father’s heart”. This highenergy songs boasts driving guitars and electronic drum loops, and brings forth a wonderful visual image of us as the children of God running back to our father’s arms, much like the prodigal. We are received and held so tightly that we can hear His heartbeat as we are encouraged to, “reach for the rhythm of my Father’s heartbeat which is beating just for me”. When we seek the Father in all things, we begin to know His heart and this changes us as people from the inside out. “Tendons (The Release)” stretches the boundaries of worship norms as Sean Curran gives a passionate spoken poem toward the end of the song in which he is crying out for God’s renewal, and “Stories” wraps up the album appropriately by weaving together many of the previous themes while asking the question as to whether the stories we hear in the Bible are just stories, or something more. Sean answers this question as we are left with the phrase, “I believe it, for my eyes have seen the King”. Bluetree Kingdom

By Gerod Bass

1. Glorious Victorious 2. You Were You Are 3. It Is Finished 4. Exalt Him 5. Destined to Reign 6. Jesus Healer 7. Shine 8. You Are My Rock 9. Rest 10. Lightens Up 11. Under My Feet Northern Irish Worship rockers, Bluetree have released their 2nd full length LP, Kingdom. They gained worship notoriety in 2009 for the well known song, “God of this City”, which was written while performing in a brothel in Thailand and made world famous by Chris Tomlin. Bluetree’s 2nd album is an interesting mix of euro techno, pop, and modern rock worship that is steeply rooted in modern style. This album features a lot of high-energy worship songs that boast of God’s power, unending love, and the victory that we have in Christ through His death and resurrection. The first 3 tracks are somewhat similar in style and lyrical content. “ Under My Feet”, “Glorious Victorious” and “You Were, You Are” take the listener on a techno charged thrill ride celebrating the defeat of Satan and the eternal joy that we have in Christ. High energy rhythms, fun moving bass lines, and jazzy guitar riffs accentuate declarative phrases of worship as we are reminded that through this victory we have been made a new creation through faith in Jesus’ name. Lead singer, Aaron Boyd’s vocals are rich and passionate throughout. “Destined to Reign” is a standout track on this worship collection. I really love the idea of this song, which is a great reminder of our future as sons and daughters of the King that sometimes gets forgotten: that we are heirs to the kingdom. Even though I was beginning to tire of the constant dance club feel of the music up to this point, the words contained here caught my attention. Boyd quotes Romans 8 throughout this song; “Through the power of Christ we are more than conquerors who are destined to reign”. It was a freeing experience being reminded of where I am headed because of Christ. Just when I was needing to catch my breath and recover from the endless stream of techno loops and high-energy proclamations of God’s power, tracks 7-9 take the album to another place. “Shine” is a very nice melodic change from the previous 6 songs and features former

Right from the beginning we get a glimpse into the heart of God as the album opens with the declarative worship anthem, “Heartbeat”. Here, Bellarive sets the central idea of the album: When we seek the heart of our creator and allow ourselves to completely rest in Him, we will fully experience the incredible love He Intensely poetic without being overly has for us. The song ends with the deeply heady, these are theological poems for provocative declaration; “We bear the mark of our creator. We stand tall for we the everyday worshiper that will fill your heart and have you longing to be close are daughters, we are sons of the King”. to the heart of your Creator. Almost every Songs like “Love Has Found Us” and “Hope song was easy to sing, theologically is Calling” give the worshiper an in-depth meaty, and very memorable. I have a look into the unending love of our Savior feeling that this group is headed for a while “Taste of Eternity” and “Measures of Dove award for the best new artist of 2012. Well done! *Gerod’s Personal Picks in bold.
Overall impression Average church congregation could learn/participate on the first hear Can be learned/adapted by a band of average skill Lyrical creativity and integrity

Bellarive The Heartbeat Bluetree Kingdom An Epic No Less Echo of Love Deluge Swell Dan Macauly From You For You
highest marks

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RECoRD REviEWs
Delirious? frontman, Martin Smith on vocals. Although fairly repetitious in nature, this song about the light of Christ that overcomes the darkness allowed me as the listener to relax and enjoy God’s word washing over me. “You are My Rock” and “Rest” continue the softer, honest worship style while weaving in themes of resting in the powerful savior’s arms and being secure in the fact that He has overcome all odds for his chosen people. Kingdom holds true to the current trend of guitar-driven worship followed by ethereal pads and repetition of phrase that has recently shaped contemporary Christian music world, yet with an obvious eurotechno flavor that some will find refreshing. Personally, I could have done without a number of the weird song endings and transitions that just weren’t necessary on a worship album. Lyrically, this is a solid offering that has a lot of scripture contained within, but I found myself hearing some of the same phrasing of ideas and rhymes that are being overdone by a lot of artists. That being said, I understand, being a songwriter and worship leader myself, that writing for corporate worship tends to be both simple and repetitive. I think with a little more thought and lyrical study, this could have been an amazing album. It is obvious that Bluetree has written these songs for their particular congregation based on where they are as a church and there is nothing wrong with that. Overall, Kingdom is a worship album of declarative, vertical worship that will engage your congregation with a powerful God who loves them, and that in and of itself is a good thing. An Epic, No Less Echo of Love 1. We Need You 2. Caught Up In This Moment 3. One Word 4. Mercy Light 5. We Believe 6. Echo of Love 7. Come to the Cross 8. Rescue Me 9. Bright White Light 10. Your Love is Louder Hailing from the outskirts of St. Louis, An Epic No Less is one of a handful of new and upcoming artists whose style is deeply rooted in the electronic rhythmica genre of modern worship music. An Epic No Less began with Todd Lars and his good friend and drummer, Daniel Chancellor, who had a vision for reaching God’s people with an old 70’s keyboard and a Bible. They were later joined by Daniel’s wife, Hannah (Vocals), Britney Strutz (Violin), and guitarist Neil Endicott. Having been recently signed by the Seattle based, BEC records, Echo of Love is set to be released on August 14th of 2012. Echo of Love is a welcome detour in sound from a lot of the mainstream worship albums out there today mostly due to the myriad of electronic instrumentation used throughout this offering, while still holding to the popular song structure and feel that is so prevalent in today’s worship world. This is not a guitar-driven album with endless keyboard pads. Electronic music and metallic beats create the foundation for the passionate Godhonoring messages of worship contained in this collection. that our God wants to have with each of us. Most of the songs from Echo of Love are very singable and could easily be adapted to any congregational setting even if one didn’t want to emulate the electronic style of An Echo No Less, however, I was somewhat disappointed with the lack of depth of many of the choruses on this album. A great worship song tends to rest on a good solid chorus that is theologically deep and melodically memorable and I would like to see the writing of their choruses match the passionate feel of their verses in future releases. I also felt like almost every song on Echo of Love had the same type of structure; verse, chorus, verse, chorus, counter-chorus/bridge and I think changing that up a bit will help as they continue to write songs to the glory of God. This is a band to keep your eye on.

An Epic No Less’s writing shines more in their verses than in most of their choruses. I found myself intrigued by the mass of spiritual pictures that were being painted within. One of the songs that does this the best is “Echo of Love”. This song speaks of a lost and hurting people whose “bones are as dry as dirt” but are the ones who hold God’s love that Deluge people will meet. The chorus tells us that Swell we are the echo of love, which to me was a wonderful way to remind us that 1. Lift Him High our call as Christians who were broken 2. Swell and were once doomed to death, have 3. Your Joy an incredible call to be the love of Jesus 4. Coming On to those God puts in our lives. The Clouds Another standout track on this CD is 5. Simple Offering Intro (Instrumental) 6. Simple Offering “Mercy Light” which is a song of hope 7. You Are Welcome amidst the despair of life’s struggles that 8. All Lovers Of Jesus we so often find ourselves in. Again, 9. He Rose the verses caught my attention here as Todd Lars sings passionately about what 10. 220 Song 11. We Respond his heart needs and what God does for us… “I want to hear the songs You sing 12. Healing Is Here over me. I’m in love with the letters You’ve written for me…. Don’t hide Your face from me”. I love thinking of the Word of God as letters He has written to His people and that He stands in heaven and sings over us. This is the kind of writing that speaks of relationship with a creator and is so vital in a great worship song. Well done.

Hailing from Louisiana, Deluge serves as the worship band at their home church, Bethany World Prayer Center in Baton Rouge. Swell is their 3rd full-length worship album that features 12 highly passionate and relevant songs of worship.

Using the “live worship service” model for this recording gives it some really great energy throughout, and as a listener, I was drawn in from the very first guitar riff of the first track, “Lift Him High”. This song As much as I really enjoyed hearing is classic Deluge in style and energy. The Todd’s voice on just about every track 80’s rock guitars set a solid foundation as on this CD, it left me wanting to hear lead singer (who also serves as the lead someone else sing the lead vocal by the pastor at Bethany World Prayer Center) time I got to the last track and voila, there Jonathan Stockstill encourages those he is she was! Hannah Chancellor takes over leading in worship to…. “lift Him high, lift the mic on the final track, which was my the name of Jesus Christ to the sky with personal favorite, “Your Love is Louder”. a shout and with a dance, lift Him high” This song is almost entirely different in Although it felt a little cliché-ish, it is still a style and substance from the rest of the fun song of praise to begin the album. album. This song is much more stripped The title track follows, as the driving down and highlights Hannah’s vocals guitars and drums keep the intensity going as she declaratively sings… “Your love and we are invited to allow the power of is louder than the storm. When I’m lost God to flow, as a river, through us and in in the noise, Your love is loud enough to fact, to “swell” up to overflowing inside us. lead me home”. This is a song that will God’s strength and His ability to free us resonate with every worshiper that sings from condemnation are themes that are it, and again helps define the relationship
Continued on page 48

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foH ENGiNEER
By Bill Gibson sound operators; however, most churches are unwilling to give up the musician to the sound team even though the church might benefit more from the musician running sound.

Characteristics of a Sound Operator

Is a Church Member, Committed to the Church Mission and Vision This is a must. If the candidate doesn’t Most churches require just a couple of the oddest duties in church! If you are know, understand, and buy into the prerequisites for the sound operator position: doing a perfect job, you’re transparent mission for the church and the vision for candidates must be breathing, and willing. and nobody seems to notice. But, if you its future, he or she should be bypassed The truth is, in many small churches, it’s not make one mistake or get one annoying for participation on the music team. all that easy to find a sound operator, even feedback, you might see the entire church Understands the Style and with those standards. When I was asked turn around and give you the look. Spirit of Worship Music Desired to write a piece for Worship Musician, this I agree with the argument stating that by Church Leadership is the first topic that came to mind. It is so since the pastor won’t invite someone to There are many different styles of important to keep coming back to the basic preach if they don’t know how to preach, church music. Each style brings with it an principles that surround the sound operator why would you invite a musician who inherent attitude. The sound operator must duties in a church. If you’re looking for a can’t play, or a sound operator who can’t understand what the music director and candidate to run sound in your church or mix to participate in these important tasks? pastoral staff expects for their church. if you’re the sound operator, these are However, there isn’t always a willing Is Servant-Hearted extremely important points to ponder. volunteer with a sufficiently developed The sound operator candidate who is In most denominations, as well as in the skill level ready to sing, play, or mix always willing to help set up and strike non-denominational independent churches, sound. There is always room for someone equipment, get a cable for the music good music, sound, and visual presentation who has a fundamental gift and desire team member, show up early to rehearsal, are fundamental to growth. It is, of course, accompanied by a willingness to learn. or just get water for the team should be acknowledged that God could anoint It is very helpful to understand the highly considered. In any ministry, the a donkey with a stick to grow a mega- characteristics of a great sound person— humble servant will win the race. Humility church if He so desired, but that type of to understand what makes a person brings honor. Pride brings shame. sensationalism seems to be rare. In reality, perfect for this important task. With the Has a Positive Outlook we are given tools to communicate a following points covered, even the novice It is important that all team members message—our modern tools include a love can turn into a great sound operator— for God, music, instruments, voices, sound I’ve seen it happen again and again. maintain a positive attitude, and that systems, and video presentations, along Notice that this list does not contain a they believe in the power of God and with anointed preaching and teaching subheading for “Is Already an Excellent His willingness to help. Negativity is about God’s principles, guidelines, and Sound Operator,” although if you find infectious, and it must be addressed immediately. A poor attitude can infect commands. an excellent sound operator with these the team. Avoid placing too much importance on characteristics, all the better; however, 2 Chronicles 20:15, 17 the equipment and tools at your church. given the choice between a great sound Developing an excellent sound system is operator with a bad attitude and humble Does Not Have an Ego Problem Large egos are easy to spot—they shine usually a long-term endeavor. Do the very servant who has these characteristics, I’d brightly. Any person who talks himself or best you can with what you have at hand, choose the latter every time. herself up like he or she is the best thing and do it cheerfully. An excellent guitar Listens to Music player will make a marginal guitar sound The fact that this is first on the list of since sliced bread, usually isn’t. I’ve good, and the same theory applies to a qualifications is not random. If the sound found that the best of the best are pretty sound system. As you develop your technique operator doesn’t listen to a lot of great- humble, yet confident. Avoid introducing and refine your ear for a good mix, you’ll be sounding music, he or she won’t have an the large-egoed member to the team—he able to get the best possible sound from your accurate frame of reference upon which or she will typically bring strife, conflict, system. Then, like the guitarist, once you are to base decisions regarding the creation and anger along. Psalm 51:17, Romans 12:3–5 using a fine instrument (sound system), you’ll of a great mix. quickly achieve the next level of brilliance. Has a Consistent Spiritual Life Loves Music Any member of the music or technical As a side note: if you’re in the process of A great sound operator loves music. upgrading your sound system, please do Sound operators not only listen to great team is a participating leader in church so with a plan. Get some help. Develop music, but they really love listening to life. It’s important that the sound team a detailed path to success—a plan that great music. They often have a very good members are in stride with the spiritual includes acoustic treatment and a prioritized music playback system at home, and they growth and life of the church. plan for the sound system you want to end enjoy music on an emotional level—they 2 Chronicles 7:1–3, Deuteronomy 4:29 up with. Then, follow the plan! (There are go deeper into the experience than simply Is Ministry-Minded another five articles in this side note—better acknowledging the existence of music. A sound operator who has a ministryget on with this one.) minded outlook will strive to provide an Sometimes, you’ll find a highly trained The sound operator position is extremely and skilled musician who loves the atmosphere where God can do what important—he or she is in control of the technical aspect of sound so much that he He does without distraction. Technical primary communication tool that delivers or she prefers to be the sound operator mistakes and amateurish presentations a life-changing message and inspires over being a musician. Many of your are very distracting in this media-savvy worship of the Creator of the Universe! At music team members would be very good Continued on page 53 the same time, being sound operator is one

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Shining ever so brightly, the CL Series is the newest addition to the Yamaha digital mixing console lineup. 3 models – CL5 (72 mono, 8 stereo inputs), CL3 (64 mono, 8 stereo inputs) and CL1 (48 mono, 8 stereo inputs), all feature 24 mix and 8 matrix busses (also usable as mixes for a total of 32 mixes) + stereo and mono output busses (for a total of 35 mixes), 16 DCA’s, 8 mute groups, 16 user defined keys, 4 user defined knobs, 300 scene memories, 2-track and multi-track recording/playback and much more. With extraordinary capability to creatively color your sound, the CL Series highlights a premium rack featuring Yamaha’s inventive VCM analog circuitry modeling technology and the acclaimed Rupert Neve Designs Portico 5033 EQ and 5043 compressor. In addition to the consoles, 2 new rackmountable I/O units – Rio3224-D (32 inputs, 16 outputs) and Rio1608-D (16 inputs, 8 outputs), offer expandability via Audinate’s highly flexible and scalable Dante™ network. Visually appealing with a channel color bar, channel naming, sleek new faders and an iPad/iPod shelf, and easy to use with Yamaha’s familiar Centralogic™ operation, touchscreen, CL Editor, and StageMix for iPad® app, all the features you’ve come to know and love from the evolution of Yamaha consoles have been taken to a whole new level.

World – Say Hello to Our Shining Star.

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MiNisTRY + ARTisTRY = PRofiTABiLiTY? CREATiNG YoUR MAP™

By Scott A. Shuford

What Should Your Advertising Do?
There are more than a few philosophies about what advertising should do. They all have merit. If you’ve tested something and it’s working for you, DO IT! I’m not going to make this into a white paper about all my research on the various ways to approach advertising. I’m simply going to make a case for the philosophy that makes the most sense for the most people based on my experience watching everyone’s campaigns through FrontGate Media. Some people pursue immediate conversion: See their ad, buy their stuff. Other people use their ads to generate awareness as in “Available Now!” As for me, most of the time I think advertising should be all about Data Capture. make an immediate convert from an external audience. Immediate converts are great. In a perfect world, I’d love to have everyone respond to my pitch and buy what I’m selling. What makes advertising an art and not just a science is the imperfect world of trying to get your message seen or heard. following ANY advertising philosophy versus a new artist, author, or cause. Most of us working in marketing are not working for a Max or Toby. In exchange for a viewer giving you their mobile number or email, give them something of value via a contest, or even better, an immediate gratification item like a free music or book download right there online. Companies and ministries working the crowds at our FrontGate Media festivals and tours get this. They almost always do data capture at events. The latest data capture prizes at events are iPads and video cameras, but really it’s all about what your target audience might want, and how you can tie that to your brand. Giving away an iPad is great if you know the people you are connecting with are the actual people you want. These types of approaches work just as well online, in print, on the radio, or on television. They work especially well on the internet because of the relative low cost to advertise versus other media outlets. We’ve run campaigns through our media group that have yielded tens of thousands of consumers for the advertiser, and that can be just from one large promotion like our annual Spiff Your Space campaign via HearItFirst.com and Winter Jam. What are your thoughts on this topic?

How much more effectively can you communicate about your product or service in 3-5 touch points instead of a single exposure? Why not give your target consumer an item that is easy to say “yes” to! Collect everyone’s information so you can reach out to them at least 3-5 more times to deepen their interaction with you. Get as little info as you need in order to Data Capture means that main purpose reach out to them again. That may be a of your advertising should be about get- first name and a mobile number or email. ting the viewer to give you their contact If they tune into your brand, you can probinfo in one form or another. Your call ably get more info from them later. to action should drive them to a place All of this depends on your brand where you can capture their information. strength. Paul Baloche, Max Lucado, In many cases, I don’t think advertisers in TobyMac, and Compassion International the Christian or faith-based market have certainly have stronger relative brand the brand awareness and overall clout to value, and can expect stronger response

Tune in Creator Worship Online Radio: Teaching & Training Hear it today… Use it tomorrow.

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“Matt Kees is a very musical songwriter, producer, mixer and a very good friend of mine. I love hearing his work as he is one of the best in the business. I always look forward to working and making great music with Matt.”

WorshipTeamTraining.com Richie Fike (Indie Extreme) Monica Coates Tom Jackson NewReleaseTuesday.com Rick Muchow (Saddleback Church) Tech Talk with Wade Odum and more… Twitter: @CLNetwork Facebook.com/CLNetwork

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Scott is excited about the upcoming Biola Media Conference (BiolaMedia. com,) and is a regular speaker at the Christian Musician Summits. He has led classes for us at NAMM as well as teaching on marketing to the Christian Leadership Alliance. Featured in Adweek, Scott is the President of FrontGate Media, the #1 culture-engaged media group reaching the Christian audience (www. FrontGateMedia.com) and the largest in-reach to Church musicians. He is also the co-founder of Creator Leadership Network: online radio for worship leaders (www.CreatorLeadershipNetwork.com). Email your comments or questions to Scott@CreatorLeadershipNetwork.com.

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A CONFERENCE FOR MUSICIANS & CREATIVE TYPES TO IMPROVE SKILL AND INSPIRE TALENT FOR GOD’S GLORY! October 5 & 6, 2012
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AUTHENTiC WoRsHiP

By Michael Gonzales

5 Ways to Kill a Worship Leader
As I was preparing to write this article I started thinking about some cringe events. You know, where something happens during worship, and the Senior Pastor has a smile on his face, but you look in his eyes and he is dying. I know a pastor for whom, when things go wrong, takes out a sheet of paper from his Bible (one of my pastors pulls out his iPad) and makes a few notes. Those notes are for a later time when the staff gets together and the Senior Pastor can’t wait as his leadership team goes around the room to talk about how well their ministries are going, and then he gets to the worship leader. over the map. Sometimes in his sharing he shares TMI (too much information) about himself, his wife, or the pastor. It can also become a worship leader killer when unapproved information is shared publically about someone in the church. One time I shared some information about a couple and their vacation to Jamaica. I thought their story was very interesting. They went to the Senior Pastor and said that they enjoyed coming to church every Sunday and loved the worship, but they also wanted parts of their lives private. (I’m not sure to this day why this was so important to them.) So I was asked by When things go wrong more than once, the Senior Pastor to just keep the worship that worship leader is on the road to a slow in flow as that’s what I was hired to do. I had to follow orders or I would have and painful death. been gone. Here are some of those things I call 2. New songs every week. I “worship leader killers”. worked for a beloved worship leader 1. The rambling man syndrome. who was awesome leading the church The worship leader shares from the pulpit, into a deeper relationship with Christ but what does that have to do with scripture every weekend, but finally someone or the attributes about God? That worship couldn’t hold it in anymore and asked the leader is a great storyteller. He is also all Senior Pastor if he could intervene and say something to the fellow. I know how it goes; there are so many great worship songs out there and our worship leader was anxious to get them out. It may not have been a worship leader killer at the time but, it could have been if not corrected. 3. The Lost Kingdom. Well . . .it’s more like the independent fiefdom. Some worship leaders have too much independent power. Let’s be honest, a worship leader is there to serve The Lord God Almighty, but there is also a hierarchy in place to maintain order and direction. The worship leader (normally) is not a partner with the Senior Pastor. The Lost Kingdom I am referring to is the worship leader who goes unchecked. That person has his or her own set of followers, and should changes be made that are deemed unsatisfactory by that worship leader, there may be an exit of valuable and talented people in the church (not a pretty sight). worship team members and the Senior Pastor. One of the best ways is to send out emails that help the ministry. Keep the pastor in the loop by copying him on important dates and information. Even if a worship leader cannot be at daytime staff meetings, the Senior Pastor can speak on that person’s behalf because they’ve been in touch. A worship leader who only does the minimal work is always in jeopardy for separation. 5. I am a rock star. What we need are more worship leaders who are ‘solid rock’ stars instead of prideful entertainers. One thing I recommend is that worship leaders take Bible or ministry related courses where scripture is used. Many Associate Pastors are encouraged to further their education through college online or local Christian college enrollment. A worship leader may argue for more guitar lessons paid for by the church, but I believe if a worship leader had more biblical training the worship leader’s role on stage will seem very different and even perhaps less focused on themselves and more focused on Christ. What can be said about worship leaders is that they should be put in a place of leadership out of calling, and not desperation on the part of the church. If a person accepts the call then that person must recognize that with the call comes responsibility. Ministering on stage is only the tip of the iceberg of what is seen in a worship leader’s ministry. There’s a lot of stuff going on that the congregation can’t see. The worship leader, along with the pastor, are messengers of hope to a hurting world; and that hurting world lives in the local church—not just outside the walls in a mission field. A surefire way to insure that a worship leader not die on the vine is to be a fruit bearer, go the extra distance, live pure, love all, and hate evil. None of this has to do with musicality so much as it has to do with character. Building character requires discipline, and because it requires work to develop, it is not a gift. It is the one thing a person can control and help insure a lifetime of work that matters.

4. It’s a gig. One of the fastest ways a worship leader will be let go is the attitude that person has regarding his assignment. One answer of defense might be, “Well, I am already working 60 hours a week, so I can barely make Michael Gonzales, Ph.D. it to rehearsal and Sunday service Professor, Biola University let alone anything else.” Even in that mike.gonzales@biola.edu situation a great worship leader can position themselves to a better place if they start communicating more with the

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GUiTAR GRAB BAG
easy to forget others if our day is allowed to consume us. Colossians 3:18-21 (NIV) ”Wives, submit yourselves to your husbands, as is fitting in the Lord. Husbands, love your wives and do not be harsh with them. Children, obey your over my inbox - are you doing the same? parents in everything, for this pleases If not, please allow me to encourage you the Lord. Fathers, do not embitter to receive a blessing by doing so. your children, or they will become Colossians 3:23-24 (NIV) discouraged. “Whatever you do, work at it with all Sadly, by the time we get home it your heart, as working for the Lord, not sometimes seems like the families we’ve for human masters, since you know that prayed for and have been blessed by you will receive an inheritance from the only get our leftovers. We are called to Lord as a reward. It is the Lord Christ you do better - it’s a choice that can be hard are serving.” to make, but honors God’s plan for our You didn’t think I was going to leave the lives. He truly is in the details. workplace out did you? In our life group 1 Chronicles 29:3 (NIV) this past week God really put something “Besides, in my devotion to the temple of wonderful on my heart. The difference my God I now give my personal treasures between non-believers and us is that we of gold and silver for the temple of my are called to be working to please God, God, over and above everything I have not ourselves or our co-workers. This can provided for this holy temple.” be a tough one, but it really enables us In the midst of pondering all of this we to align our work day with being an act of worship. Just think . . . you get to go are also called to bring God our first fruits to work and worship - how awesome is when it comes to worship. I’m increasingly being tested in this - especially around that!!! prep time, and it really bothers me. The Colossians 3:12-14 (NIV) good news is that when we are actively “Therefore, as God’s chosen people, developing spiritual alignment, it gets holy and dearly loved, clothe yourselves a lot easier. As a practical suggestion, with compassion, kindness, humility, create a practice schedule to map gentleness, and patience. Bear with each out time dedicated to learning songs, other and forgive one another if any of developing parts, and increasing your you has a grievance against someone. skill on your instrument. As I’ve suggested Forgive as the Lord forgave you. And over before, put your songs on your mobile all these virtues put on love, which binds device so they can live with you. They them all together in perfect unity.” will encourage you and you can know If I can suggest printing this out and them by heart before you ever play them. reading it before you start your commute How wonderful is that? to and from work. It’s so easy to get Psalm 16:3 (NIV) wound up behind the wheel and lose “I say of the holy people who are in the touch with what God wants to do with land, our day. He has a plan, and so does the ‘They are the noble ones in whom is enemy! all my delight.’” Colossians 3:15-17 (NIV) Lastly, I want to remind you of who you ”Let the peace of Christ rule in your hearts, since as members of one body are in God’s eyes. God may be in the you were called to peace. And be details, but as we step into the world each thankful. Let the message of Christ dwell day, it is increasingly easy to embrace the among you richly as you teach and pattern of how the world lives. As each admonish one another with all wisdom area of our lives increasingly resembles through psalms, hymns, and songs from God’s plan for us, we will bless our the Spirit, singing to God with gratitude friends, families, congregation, and best in your hearts. And whatever you do, of all, the Lord our God. whether in word or deed, do it all in the name of the Lord Jesus, giving thanks to Doug Doppler is signed to God the Father through him.” Steve Vai’s Favored Nations By the time we actually make it to label and is currently in rehearsal we can be on our last leg of production on the Get Killer patience. Let God’s love reside in us and Tone DVD series. He and his through us, and it will restore us and those wife Melissa live to serve the Kingdom and we are called into fellowship with. It’s are members of Cornerstone Fellowship in the San Francisco Bay Area.

By Doug Doppler

Monkey Busyness
As of late I’ve watched more and more of the people I know and love become increasingly consumed with busyness in their expanding responsibilities. I’ve also come to the belief that the enemy is at work playing the proverbial organ grinder, preying upon the separation from our time with God that this busyness creates. Colossians 3:1 (NIV) “Since, then, you have been raised with Christ, set your hearts on things above, where Christ is, seated at the right hand of God.” My own life has become a series of deadlines stacking up one after the next. The false belief that this cycle will somehow ease has passed, and I’ve moved on to the idea of how I can see God through the smokescreen the enemy would love to use to separate me, my thoughts, heart, and walk. As a player I find I have less time to practice, less time to prepare, and less focus when I finally get to those things. Part of being on the platform is lifting others up with the gift of music that God has deposited in each of us. Let’s work together and see where God would have us move... Psalm 91:14 (NIV) “Because he loves me,” says the Lord, “I will rescue him; I will protect him, for he acknowledges my name.” God wants to walk us through this, but we need to actively invite Him into our process. I’d suggest starting with a spiritual assessment for you and your team. How is your prayer life, time in the word, and small group life looking? Are they getting crowded out in the mix of things? I’d like to suggest starting each day in prayer before your feet hit the ground, seeking God’s counsel on how you can see Him in the details. It’s easy to forget to ask Him for His wisdom before stepping into the busyness of our day. Mark 12:30 (NIV) “Love the Lord your God with all your heart, and with all your soul, and with all your mind, and with all your strength.” Spiritual discipline is not about law, but rather an amazing opportunity to demonstrate that what God wants for us is what we want and choose for our lives. Once my feet hit the ground I head straight to BibleGateway.com and make sure I get aligned with the word of God before I open my email. I actively choose God

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By Tom Lane

Leading Through Hard Times
As much as I’d love to say things are always well and good, they’re not! Life doesn’t stop happening to us Monday through Sunday, and there are days that we show up to lead feeling like deadbeats. Not to mention the difficulties, relational challenges, politics, pettiness, and you name it—just as present in the church as outside it. Any number of things can be a distraction, draining us of our energy and focus. Imagine now that most everyone else coming into a service has also endured a week of . . .who knows what. It’s very hard to push through but we have to! To me, the real beauty of David’s legacy is that he turned anger, pain, fear, temptation, sadness, grief, etc., into songs and prayers. It seems he didn’t mince words or mask his emotions in order to dress up his worship. He was honest and wholehearted, if nothing else, and I don’t believe we can push through the hard times without being likewise. In truth, we can actually flourish through the tough stuff if we learn to handle it well. In each of our own worship situations and churches there’s a reality to face - a specific culture, context, DNA, vibe, style, and so on. When we sign on to lead, in whatever capacity, we are in essence signing on to walk within the boundaries of this reality. Because we’re human beings fraught with issues, it is anything but perfect, and it’s actually very uncomfortable sometimes. Honestly, it can be a royal pain, right? But what we do with our emotions in the struggle is the real test. I can’t say that I just love the extremely programmed and corporate environment that church can often be, but I can say I’m learning to move beyond criticism and judgment as a way of dealing with it. I’m far more patient now with the systems and programs that I could care less about, and make more effort to support those leading them, even if it’s not my passion. Let’s start with confession. I love the Lord’s Prayer. It’s a step by step prescription for getting into a right place with God. If we want to make it to the inner court we start with confessing, “Hallowed be Thy Name.” Then we move on to asking what’s ultimately the most important request of all, “Thy kingdom come, Thy will be done...” Every line is another vital prayer that leads us deeper into a posture of worship. Even if the day started bad, we’re in unimaginable pain, writhing in anger, out of sorts with someone, etc.; the fast track to getting it right is honest confession of Who God is, and what He desires most. His kingdom coming on earth as it is in heaven is not about everything feeling, or even being, well and good. There’s always something more He is doing around us, in us, through us, and though others we serve and live with. That reality is often uncomfortable, but it’s good, because He is good! So whether we get up to lead every week in the presence of a Leader we know can’t stand what we do, or a congregation full of critics that love to email their anything but constructive criticism, we can still do it with a glad and whole heart unto God. We press through by being honest about the situation and our own emotions, and putting them at the foot of the cross every single time we lead. We can either let circumstances get the best of us, or master them by dealing with them in a healthy way. Much of the time the strife is largely about things beyond our control anyway. There’ll always be a rub somewhere with someone in ministry, and we should be able to deal with it head on in love. That’s maturity and wisdom. Sadly there are some very unhealthy situations and churches, so even if we do our part well, it doesn’t always mean others will, and it may still cost us the role we’re serving in. What I often find, is there are usually a host of expectations at play, and not near enough honest communication going on. What’s unspoken is actually unfair to the one we’re expecting things from. It’s also an assumption that others can read our minds, or should instinctively know what we want from them. Many leaders have passive aggressive tendencies and don’t take the initiative to confront or discuss the issues and problems directly. Then there’s always the ‘impossible to please’ leader! As I’ve said before, we all have the choice to either; work out our issues and get to a place that we can serve and uphold what we’ve committed to do, or we agree to disagree and not serve in that capacity. It’s always better to avoid letting anger and bitterness become huge oak trees in our lives and cause dissention. God doesn’t ask the impossible of us! His mercies are genuinely new every day— even our bad ones. Press into His heart and through the tough times, in holiness and righteousness.
Nashville, TN is home for Tom Lane though he is involved in ministry and music around the world. As a singer, songwriter and guitar player, Tom has been teamed with many worship leaders and artists. He continues to record his own work, lead worship, and writes regularly for various worship publications worldwide.

Improving Musicianship | Inspiring Talent

STEVEREALLY WANT TO DO IS DIRECT TAYLOR ...BUT WHAT I
Product Review
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Product Review
Waves: Studio Classics Collection

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Product Review
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MAY/JUN 2012 Volume 10, Issue 3
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Record Reviews

Christy Nockels l Passion l Foursquare United Generation Desperation Band l Fike
Songchart ‘Manifesto’
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MAY/JUN 2012 Volume 17, Issue 3
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Selective Hearing
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Mercyland: Hymns For the Rest of Us • Newworldson • The Vespers • Jenny and Tyler • Dave Perkins • Hotshot Freight Train • Russ Rosen Band

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PRoDUCT REviEW

By Doug Doppler

Blackstar HT-Delay and HT-Reverb
Blackstar was launched by a team of amplifier industry professionals, who are passionate about bringing a range of amps to the market that sound great while offering excellent value. They have been equally committed in their development of a range of tube-fueled pedals that deliver classic tones via smart designs. important to point out that of the twenty or so reverb pedals I have at my studio, only a handful incorporate a preamp tube. The HT-Reverb is a mono in / stereo out design offering eight reverbs: Room, Hall, Bright Hall, Plate, Spring, Arena, Reverse, and Gate. The Dwell control on the HT-Reverb drives the tube circuit in the The HT-Delay and HT reverb both op- same way the Saturation control does on erate on the same basic principal - start the HT-Delay. with a great sounding digital circuit, in- Most everyone will agree that a vintage corporate a healthy collection of effect Fender reverb circuit is about as good types (delays and reverbs respectively), as it gets, and like a number of the most and give the end user the ability to blend prized delay tones, the mojo is the end in the amount of tube warmth they so result of the interaction between the effect desire via a 12AX7-driven circuit. After and the tubes. I matched the HT-Reverb spending several hours in the studio with with a pair of Roland JC-120s to insure both pedals I was duly impressed. the only tube interaction was happening inside the pedal. From the moment HT-Delay I plugged it in it was clear that the HTThe Blackstar team started their design Reverb definitely brings something very process by analyzing a collection of clas- unique to the table. sic echo and delay units in order to distill their mojo into the HT-Delay. This mono-in To the best of my recollection, this is the / stereo-out pedal features eight classic only reverb pedal here that has both a delay types: Linear, Analogue, Multihead tube circuit and a tone control, and this 1, Multihead 2, Tape, Space, Loop 1, is where this pedal really excels. As much and Loop 2. While the Analogue, Tape as I love using the JC-120s for stereo setand Loop 1 + 2 effect types are always ups, they do not have the same kind of mono, adding a second output adds ste- warmth that the vintage Fender amps do. reo separation for the other effect modes. I was particularly impressed with the ability to refine the reverb voicings with the The Saturation control is what makes this Tone and Dwell controls, delivering tones pedal both unique and effective. A num- that were lush, but still had a vintage vibe ber of the classic echo circuits were not when I wanted them to. only lo-fi, but were often played through A Strat got me into Jimi territory pretty slightly muddled signal chains, delivering quickly, while the neck pickup in my the tube magic we’ve come to enjoy on so many delay-laden classics. Adjusting Ibanez S470 got some nice jazzy tones the Saturation control dials in the desired that had just a little bit of drive, thanks to amount of tube warmth and saturation the Dwell circuit. I’m not normally a big with a hint of compression. This is key to fan of room reverbs for guitar, but with how the HT-Delay replicates the classic a bit of fine-tuning I was particularly imsounds which were often the result of how pressed with how I could get the reverb the entire signal chain interacted rather to interact with both the pick attack and the tonality of the amp. I usually have to than just about the delay unit itself. choose one or the other, but thanks to the Praise and Worship players will appreci- Tone and Dwell controls I had the flexibilate the dedicated tap tempo / loop foot ity to do booth. switch, but should keep in mind that they will need to use the proprietary wall wart The HT-Reverb also requires 22 volts of to power up this 22V DC pedal. While it DC power, but given the kind of warmth, is generally accepted that the higher volt- depth, and clarity I was able to create, age is required to maximize the use of a the wall wart is a worthwhile tradeoff, tube in a pedal circuit, you’ll need to use and again can be powered by a courtesy the courtesy outlet on something like the outlet if you don’t want to use power strip. Voodoo Lab Pedal Power 2 if you want to avoid using a power strip. Visit the website at HT-Reverb Like it’s delay counterpart, the HT-Reverb is the result of time well spent studying an array of the classic tube circuits. It’s also www.BlackstarAmps.com Average street price is $299.99 each.
WORSHIPMUSICIANMAGAZINE.COM JUL/AUG 2012

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CAMERA

By Craig Kelly

People Get Ready
I initially started writing these articles for church volunteer camera operators. I thought, at the time, it might be helpful to the technical arts teams, operators, worship team leaders, etc. to give some insight into the world of professionals TV camera ops. I knew that churches didn’t often have the funds for training and development that commercial organizations might have, and set out to tap my camera friends, colleagues and industry veterans for information to share. This simple plan has since grown to offer insight to a much wider readership, such as: students, new professionals, community access television stations, and even corporate video/marketing department personnel. That said, I am continuing on with this writing challenge to include all of the above groups and more. The basic premise is the same – a free resource to gain a little insight into the world of the professional TV camera operator. As I often do, I posted a question to the free LinkedIn group I started a while back as a place for TV pros to learn, offer, share, and get involved in this informational training for camera ops. Here is the question I posed recently: “What’s in your camera bag?” The intent was to try and find out if there are common tools, supplies, gear, accessories, etc. that camera operators around the world find essential to carry with them. I know that I always carried: · A small roll of gaffer tape · Small set of tools · Short rope · Short coax cable with barrels, adapters, · Short XLR cable with adapters · Registration chart (Showing my age) · Leatherman tool · Sharpies and pens · Note paper · Lens cloth and cleaner · Intercom headset w/adapters · Stopwatch · Spare Beta SP tape (age again) I’m sure there was more, but that’s the primary list. Let’s take a look at camera ops from around the world and see what they say. like screwdrivers are restricted. To tighten the camera plate I use one of the Big copper Chinese coins with the square hole in the middle. It also works well as a marker on the floor to spike a talent mark or a camera position. Also I keep a couple scraps of Black Wrap and some C47’s (close pins) with me to control the light and add a shadow or a variety of other tweaks. If you’re clever you can use Barry H • Several different cake it like a C stand and a flag, but much (makeup) options to take off the shine, lighter. Leatherman, extra P2 card, barrel, bnc to rca, lens cloth, extra brick, phone Rick L • This of course all depends on what camera you are shooting with, and where. charger. I like to have most of these items, The Alan W • My run bag has batteries, bag gets pretty big, but as we learned in spare media cards, video/audio the Boy Scouts, “Be Prepared”. I always adapters, tool kit, gaffer tape, electrical carry a Leatherman, miners light, lens tape, in-line audio amp and pads, dustcloth, small tool bag, gloves, a few 47’s off, sun gun, Lite panels, black wrap, for shims, trick line, zip ties - regardless of tough spun, wireless kit, notepads, pens, where I shoot. and business cards. Steve P • I own / operate a boutique Jillian B • camera, radio mic, 2 x production co. Shooter since 1986 or ecm77’s, xlr cables, several 1/4 CTB so. We have 5 HD cameras including gels, scrim, couple of CTO gels, croc a dslr. We have several camera bags clips, 2 cam batts, hard disk recorder, and 3 shooters. Gear bags and cameras AA batteries, clipboard, shotgun mic with are constantly swapped in/ out of the 3 rycote furry, wide angle adapter, tele main bags we use. Since no single bag adapter frezzi cam light. DV tapes (rarely is used every time I have a portabrace Dp used now). pouch/ belt with a whole bunch of must Matthew G • V-lock batts, GoPro haves that are only mine: Gerber tool, camera, B4 2x extender, Xylight, LED led light with laser pointer, tweeker, small panel, gaffer, bnc’s & barrels, RCA cable, white/ warm cards, outlet tester. HDMI cable, iphone car-charger/cable, Well, there you have it – a look into quad powerboard, double adaptor the personal accessories that a handful (surge-resist), jeweler screwdrivers, hex of camera ops/DP’s carry with them. As keys, Leatherman, matte-box donuts, was mentioned, you’d throw your back walkie-talkies, 1TB HDD, USB cables, AA out if you carried all of these items, but & 9V batts, 4x4 filters (circ pola, ND9 the point is to carry what you need to soft-edge grad, ND9 hard-edge grad, get your job done. Don’t rely on others to 812, blue grad), gels (CTB, CTO, 250, have everything you need or want. Carry 252), pegs, bamboo skewer, zip-ties & with you what you think will allow you to nipper, cling-film, hacksaw blade, mirror, be the best at your job. chinagraph, spiggots, black stocking, tissues, lens cloth. Dusty S • Well, a light meter, a Macbeth chart to match cameras for post, 1/8 ctb & 1/8th cto to warm or cool my white balance color temperatures, a shotgun mic camera shock mount, lens tissue, assorted screwdrivers, an assortment of audio & video connectors, 9 volt and AA batteries, and my phone charger, All in my little black camera backpack. Ron W • Yes, be prepared, but don’t carry more than you need to......All I need in my bag is wet weather gear, sun glasses, sun lotion, water bottle, mints, BBC and Sky Sports pass, diary, camera tape, pen, permanent marker, leatherman, torch (flashlight), AA batteries, sausage marks, adjustable spanner, news paper and snickers bar! Warren B • When my production is in one of the NYC building with airport tight security like the Empire State Building, I have to rethink my tool kit. Sharp things
Television director Craig Kelly’s career has included over 3,500 live shows, events and concerts in broadcasting, corporate television, events and sports production since 1977. He is also involved in ministry based events and concerts, and has produced or directed internationally distributed DVDs. With a background as an international freelance cameraman, he has shot national and local level sports and corporate video for over twenty years. These days he is often involved in speaking, workshops, writing and talking about Television camera operators and directing.

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WoRsHiP TEAM TRAiNiNG

By Branon Dempsey

The Classically Trained Pianist
In a Contemporary Worship Band
Let’s face it. Pianists are a special breed. They enter life, learning piano by the age of five. From scales to Minuets, from recitals to a Degree in Piano performance. Their fingers can move like lightning and their precision is like thunder, and they can read and play anything you put in front of them. But when you put that chord chart or lead sheet before their eyes, and they glaze over and freeze like a deer in the headlights. What do you do? Does this sound like you, or someone on your team? I’ve learned to play it safe by following 3 simple rules: Be Low, Go Slow, and Don’t Mo. we both share the space and pace? Tie Get with a guitar player and ask him both hands behind their backs! Really, or her for a chord-building chart. Let’s it’s about learning to listen, think, and hope they have one! Learn to become a respond. student of building and naming chords. If you were in a conversation with Take your time and listen to the quality another person and all they did was talk, of each chord’s sound. Improvising is talk, talk, talk.... and talk some more, you another animal in its own zoo. My advice might feel awkward or frustrated that you is to listen to music, better yet a live jazz couldn’t breathe in a word. Music is no combo. Pick out what the pianist is doing, different. Listening more than you play is how they play, what they play, and when a quality mark of a musician. Going slow they play it. Practice with a guitar player involves creating space, not minimizing and a metronome. Let them lead and it. When I play piano, I constantly listen learn how to evenly fill in the gaps. Don’t back to a particular order: vocal, drums, mo them over.

This is a companion article to our present bass, and guitars. You may wonder: videos found on: www.Youtube.com/ vocals first? Yes, because ultimately, that’s who the congregation is being led by WorshipTeamTraining in the lyrics. They also set the syllable and of course pace, as the drummer and bass provide www.WorshipTeamTraining.com/Training the foundation. The acoustic players are Join us here for a visual demonstration on holding the key and chords changes together. As a pianist, look at your our sites. team like a map of conversation. Listen Be Low first, think before you play, and respond Your worship team is made up of many appropriately. members which function (should) as one But wait a minute . . .it’s not written in the body. For the pianist, this is a different world. music! Exactly. Aaron Copeland put it this Learning how to play contemporary music is way, “It’s not about the number of notes one thing, playing with a band is another. that are written, but what’s not written.” Pianists learn how to spin three plates at one Pianists, music comes from your time: melody, harmony and rhythm. Being low refers to assuming a lesser role in the heart, not the manuscript. Look at any team and not the dominator in juggling accomplished symphony and you will all three parts. What is most difficult for see each musician swaying in tempo, pianists is to let two or even all three of these because they are making melody in their plates fall. I often explain this at our many heart. Isn’t that our task according to Col. 3.16? Weekend Workshops for worship teams. Let’s look at it this way: Plate one is your Don’t Mo melody - the singers and electric lead player. Let them lead. Plate two is your harmony. This would be the acoustic guitar player, other chord instruments, and you (the pianist). Plate three is your rhythm. This refers to both your drummer and bassist - the backbone of the band. So where’s your place? That’s right, plate two. But remember, you also share this same plate with 2 or more other players. So be low, share the space, and contribute to what’s being served. How do you do this? Not the three stooges, but your skills in chart reading, chord building and improvising. Learn to become a student of the chord chart and lead sheet. No, it’s not created by the devil; it’s another systematic way for shorthand reading for musicians. Just open up any Music History textbook under 15th / 16th Century Music and you will see a lead sheet. It’s called Gregorian chant. In Early Greek and Egyptian Music they inscribed letter note names on instruments. There’s your chord chart. Look guys, you’re just having Go Slow to overcome a fear of the unknown, Every pianist (like any other eager band especially after 20-50 years of learning beaver) wants to plow full speed ahead. to play one way. Trust me, it’s ok. You Both hands are flying up and down the can do it. keys like the Sound of Music. So how do

In closing, If you fully immerse yourself in this new way of playing, (or be sprinkled, depending on your baptism); you will be surprised to learn a wealth of information that your former piano teacher NEVER taught you. Enjoy listening and contributing to your team. Fall in love all over again in learning how to play in a new way. It WILL inspire your creativity and transform your musicianship. Have fun and may God bless you richly! Worship Team Training - Branon Dempsey

Branon Dempsey is the CEO/ Founder and Training Director of Worship Team Training® (www.worshipteamtraining. com) a ministry providing live workshops and online resources for local worship ministries. Branon is called to lead worship teams, leaders and artists in becoming authentic worship-followers of Jesus Christ, serving 40+ churches per year. He holds an MA in Worship and BM in Music Composition/Performance. Featured WTT Radio Show Host on Creator Leadership Network to 70k listeners, Instructor/Speaker at Christian Musician Summit, New Column Writer for Worship Musician Magazine and TCMR iLevite Magazine and CCLITV Video Training Contributor. Worship Team Training® is sponsored by Creator Leadership Network, Christian Musician / Worship Musician Magazine / Christian Musician Summit, Sibelius USA and G3 Music Publishing; endorsed by Promark Drumsticks and Jim Hewett Guitars.
Copyright 2012 Branon Dempsey | Worship Team Training | Administered by For His Music. All Right Reserved. Printed in the United States of America.
Visit: www.worshipteamtraining.com

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PRoDUCT REviEW
Continued from page 8 great the guitar sounded. Wish list: Take this with a grain of salt because I’m very picky about how I set up my guitars. I usually wire my tone pot to just affect the bridge pickup on Tele’s & Strats. I am sure there is a way. A second battery pack would be nice to have if you need it. I’m a big tremolo fan, and really prefer the kind where the bar slides in and out. Spinning the threaded Trem bar on and off takes time and always seems to hang loose when I’m playing. The volume pot is close to the strings, a design that is great for volume swells. It moves very easily so I taped it down for live. Conclusions: I’m really impressed by this guitar. It plays great out of the box, and completely cures any hum problem. There are a lot of cool tones at your disposal. The Baritone sounds exceptional. For the price of a nice Stratocaster you get a great playing guitar with a ton of possibilities. It’s one of the coolest guitars I’ve ever played. The MSRP for the Roland G-5 VG Stratocaster is $1,779.00 Street price is about $1,299.00, (including a premium gig bag). For more info: http://www. rolandus.com/products/productdetails. php?ProductId=1188

RECoRD REviEWs
Continued from page 32 consistent on such songs as “Your Joy” and “220 Song”, while “Coming on the Clouds” has more of an R&B feel and speaks of Christ’s return. The rap part toward the end of this song seemed a little out of place for me, but I think it stays true to the DNA of their worship there at Bethany. The best song on the album, which regrettably is also one of the only contemplative moments in this collection, is “He Rose”. Piano driven, with a superb string section, this song of hope speaks of how our relationship with God was healed because of Christ’s death and resurrection. I really appreciated the genuine feel of this song, and the depth of lyric here was great to experience. I could totally see this song kicking off an Easter service at my church. For the most part, the songs contained in Swell are very easy to sing, and could be adapted to and performed by most worship teams. There are songs within this collection that could be used as a call to worship, or for a response to confession, or an offertory. While I appreciated the energy that was projected by the live recording, there were moments where I heard voices talking in the background, or yelling “whoop, whoop” which kind of distracted me from the worship, and I am not quite sure what purpose that serves on a worship album other than trying to recreate what it might be like to worship at their church. I would like to see a little more cohesion between songs and themes, as well as some creativity in their lyrics in future Deluge albums, but at its core, this is a solid offering. Dan Macaulay From You For You 1. From You For You 2. Be Our Love 3. Your Kindness 4. In Awe 5. Permanent 6. Listening 7. Breathe In Me 8. Win With Love 9. Amazing 10. Saving Grace (Come Thou Fount) 11. Live Like You’re Free Award winning Canadian born worship leader, Dan Macaulay’s newest worship album, From You For You, was directly inspired by Romans 11:36 that says, “For from Him and through Him and to Him are all things. To Him be the glory forever!” Coproduced by Nathan Nockles and Michael W. Smith, it is clear from the title and the songs contained within that this project is meant to bring glory to God while providing accessible songs to the church at large. The title track is first and sets up the overall theme of the album as Dan’s melodic vocal tells us of a world that is lost in darkness and only the love of Christ can set us free. Here we are called to use our giftedness to bring glory to the one who created us as we hear the strong driving chorus…. “The circle is complete when I use what You give to bring You glory... Everything I have and everything I’ve got is from You, for You, God.” This song idea is the very foundation that worship rests on, giving back to God because He first gave to us. “Permanent” is a driving guitar anthem and beautiful reminder that we serve a God who never changes and whose love never ends…. “You’re faithful through and through, no one compares to You, in You our heart’s content, ‘cause Your love is permanent, You’re our absolute, Jesus the living proof, our song will never end, ‘cause Your love is permanent”. “Breathe in Me” is an intimate prayer that was written by Michael W. Smith (who also happens to play piano on the track) and Wayne Kirkpatrick about the heartfelt cry to God for personal restoration that every believer can identify with. “Amazing” speaks of God’s majesty while at the same time exploring the intimacy that He desires for every human. Dan Macaulay adds his take on the hymn “Come Thou Fount” to the collection, changing the title to “Saving Grace (Come Thou Fount).” He leaves the verses untouched but does add a bridge that tells of God’s unending faithfulness - “You’ve brought me this far, I know You’ll lead me all the way home and Your faithfulness won’t let me go”. Lastly, “Live Like You’re Free” is a celebratory track of the freedom that we have in Christ Jesus. It wonderfully crafts Scripture passages from Galatians 5, Romans 8, and Ephesians 3 together to end the album on a very positive and uplifting note. Overall I enjoyed this album as it boasts a number of nice worship moments, but I would have liked to see Dan take a few more musical and thematic risks with this collection, and some of the arrangements seemed a bit dry. There really wasn’t a whole lot of new ground broken here but there are some very solid worship songs contained in this album for you to use in your congregation.

Michael Hodge is a producer, engineer and recording artist. He’s a guitar player on staff at Lakewood Church in Houston TX. He and his amazing wife Carrie Mcdowell Hodge record and lead worship together at conferences internationally. Their passion is for the nations and to stir up the next generation of worship leaders both singers and musicians . Michael is in constant pursuit of great tones and great gear!

Gerod Bass is a ministry veteran who has been serving God’s people through worship and youth ministry for more than 20 years. Since 2009, he has been living his dream, serving as the Minister of Worship and Music at Our Savior Lutheran Church in Tacoma. Gerod is a singer, guitarist, songwriter, and recording artist who has a passion for taking Biblical truths and implanting them on the hearts of God’s people through music.

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JUL/AUG 2012 WORSHIPMUSICIANMAGAZINE.COM

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MANDoLiN
By Martin Stillion

Playing the Mandolin: Are You Washed in the Blood?
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Somebody asked me to work up an arrangement of this old gospel song in the key of A, and I was more than happy to oblige. When you hear people singing “Are You Washed in the Blood?” these days, it’s usually in either a country or bluegrass style. Accordingly, I started off with a bluegrass treatment, although I couldn’t resist including a few instances of a standard ragtime rhythmic figure. When you’re not playing the ragtime figures, keep a steady 16th-note pulse going in your right hand—a bit of advice I picked up from the late Nashville mandolinist and teacher Butch Baldassari (that’s what all those tremolo marks are for). The arpeggiated runs in bars 12 and 16 are similar, but not identical—watch out. If you play this with a bluegrass band, this should be your second mandolin solo. The first one should be a straight melody with Butch’s advice in mind. Bluegrass is always a kick, but I’m actually more excited about the second approach I took: doing it as a gospel blues song in a 12/8 shuffle rhythm (probably because no one does it that way). There’s a lot of chromaticism in this version. You may not be accustomed to notes like E sharp, B sharp, and F double sharp (also know as F, C, and G)—but I chose to notate them that way to use the fewest possible number of accidentals. I couldn’t resist quoting another old tune (“Tramp, Tramp, Tramp, the Boys Are Marching” by George F. Root, perhaps better known as “Jesus Loves the Little Children”) at the end. Side note: If you perform the song, please look up the original tune and correct lyrics at cyberhymnal.org first. I checked out three YouTube versions, including a couple by big-name national recording artists—and all of them mangled the words. Or you can do it as an instrumental. In either case, have fun.
Multi-instrumentalist Martin Stillion, a 20-year veteran of worship bands, plays at Seattle’s Bethany Presbyterian Church. In his other lives he’s a husband, father, writer, editor, Webmaster, composer, and musician. Learn more than you wanted to know about Martin at www.stillion.com/ martin or www.emando.com.

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Worship Arts Technology Summit

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Sheri Gould - Vocals

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Bring four of your team members and the fifth is free. $50 early bird discount ends four weeks prior to each event. See web site for details.

Carl Albrecht - Drums

New this year ... Bootcamps!
We are pleased to offer one day bootcamps the day before each WATS. This is the perfect opportunity for someone to add a one day intensive in audio, lighting, media or vocals.

Ed Kerr - Keyboards

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2012 Schedule*

Ridgecrest NC October - 2012 Dallas TX - October 2012 Sandy Cove MD - February 2013
*locations and dates subject to change

Tracks offered

Audio - Music - Lighting Media - Vocals
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THE NEXT DESTINATION FOR FINDING, LISTENING, DOWNLOADING & AND SUBMITTING WORSHIP SONGS
Bruce Adolph: Holland, you have had quite a history of being involved in worship music and now you are rolling out a “destination” website that offers several opportunities for those involved in modern worship music. Please give us an overview of what your vision is for www.worshipsong.com? Holland Davis: On the surface the vision of worshipsong.com is very simple. Provide a way for worship leaders and worshippers to hear a complete song and download a FREE chart so they can teach the song to their church, bible study, or simply play it during their personal times of worship. It was born out of a conversation I had with Pastor Chuck Smith of Calvary Chapel Costa Mesa who said, “my sermons are free, why can’t worship songs be free.” So, I prayed and the idea for worshipsong.com was born. Now, the unexpected surprise came when I received a call from an A&R guy in the industry who asked me about a song I wrote called “I Will Stand”. I asked why. He said it went from the 800’s to the 300’s on CCLI over one reporting period and he wanted to hear the song. What was the difference? Worshipsong. com. The only place the song was promoted was on the site. I learned from this experience that one of the benefits of worshipsong.com is greater exposure to worship leaders, which means greater visibility on CCLI. Another surprise was the number of worship leaders and worshippers wanting to purchase the songs to distribute to their worship teams. I felt that a FREE chord chart allows me to fulfill Pastor Chuck Smith’s vision to make worship FREE, but I felt that a FREE recording would be asking too much. It takes a lot of money to record a song and I only felt it was fair to charge for the mp3’s. This led us to offer the ability for songwriters to sell their songs via worshipsong.com. This can happen one of two ways. They can sell their songs through our online store, or they can sell their songs by linking back to their website or iTunes. We also secured distribution into iTunes and 500 Christian bookstores via on-demand kiosks with selected songs from worshipsong. com. Our desire was really focused on ministry,

.com

but we saw a legitimate need and wanted to meet that need in a way that honors the hard work and costs that songwriters put into making their songs available to others. Songwriters can sell rhythm charts, sheet music, videos, mp3’s and lead sheets. Currently we have received permission from Vineyard UK, Bethel Music, Christ For The Nations, Sound Truth Publishing, and Calvary Chapel Music to include their music on our worshipsong.com website. We also have permission to include some amazing writers such as Sarah Kelly, Chris Lizotte, Jamie Harvill, Brandon Bee, and Hanz Ives of Harvest Christian Fellowship. Since the launch of our site, approximately 1000 songs are heard every day.

companies that have products that line up with the needs of modern worship leaders and their teams. It looks like we are going to be working together on several fronts here to help both entities grow and succeed. One last question… you mentioned two different ways songwriters can work with you… by selling their music through the site and another, by “kiosks” in 500 Christian bookstores. Now I know the next question that songwriters will ask you… what is the cost involved and how much do the songwriters retain?

HD: We have several different programs that writers can be involved with. A writer can upload their song or album with chord charts for free on worshipsong.com. If they desire to take Our future is wide open. We have all kinds of advantage of the worshipsong.com store, they ideas, such as making worshipsong.com a site can sell a single song for a one time set up fee of that worship leaders could use for planning their $1.00, an EP for a set up fee of $5.00 and an set lists. We’re also working on a platform for album for a set up fee of $10.00. If they want songwriters to collaborate over the internet. to take advantage of digital distribution into BA: Wow – that is quite a vision. Now, we are iTunes or on-demand kiosks in approximately announcing here quite a few ways that we will 500 Christian bookstores that cover 65% of be working along side of you in this endeavor. the market, we charge a set up fee of $50.00 First of all, Worship Musician and Christian per album. This is a one-time fee, and it also Musician magazines will be posting some of our includes the worshipsong.com store as well as content there at your site. I will also be blogging future avenues of digital distribution we secure. from time to time and we will partner together to What do the songwriters receive? For all sales reach out to the worship community’s artists and through the store, the writers receive 65% of the songwriters. In the store part, we will be offering sales price. Our general retail price is $1.29 magazine subscriptions, the Christian Musician per song and $12.99 per album. For digital Summit conferences training DVD’s, as well as sales through iTunes and other venues we pay our “Streaming” products that were captured at 85% of all revenues received. the conferences themselves. BA: Right on. The reason I like this whole Two other ways we will be contributing to the concept is it gives worship leaders and site is by stocking some unique instruments/gear songwriters a “destination” website for their products (even some vintage guitars and amps music needs, and it provides a distribution we consign :) and by our Christian Musician channel for songwriters and their songs. Well Summit conference sponsor/exhibitor sales staff done Holland! selling the banner ads on Worshipsong.com to

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JUL/AUG 2012 WORSHIPMUSICIANMAGAZINE.COM

foH ENGiNEER
and what it takes to run it effectively is a true blessing to all. Is Technically Gifted The Lord gives us certain gifts that just make Romans 12:14–16 some things easier for some people—they get it! Does Not Participate in Gossip Is a Lifelong Learner Gossip is unscriptural, unfair, destructive, If you have a sound operator who is intimidated Look for those people. immature, and unacceptable in ministry. by technology and prefers to live in the “old Has Good People Skills school,” your church will have a difficult time If there is one person who is capable of stirring Participating in gossip can only lead to problems moving ahead into the future. up a hornet’s nest, it’s a cranky sound operator. and strife. Every area of ministry requires good people Is Determined to Become an Excellent Is a Hard Worker Weekly services at an active church require a skills, but there seems to be a special sensitivity Sound Operator in the creative arts that demands an even higher It isn’t necessary that the new sound operator is lot of extra work from the sound crew. level of grace, kindness, and understanding. already proficient or excellent. However, he or Has a Long Attention Span Psalm 19:14 she must be determined to become an excellent Operating sound during a church service is a sound operator. Has a Mature Perspective job that demands 100 percent of the operator’s Sound operators are closely involved with Summary attention for 100 percent of the service time— this is definitely not a passive task. Running the worship team, the church staff, and the With relentless determination and a great the sound system during any live performance congregation; therefore, immaturity in their attitude, people who naturally conform to the actions, reactions, and comments tends to be characteristics I’ve just described are very likely requires constant attention to detail. magnified. A mature person understands that to turn into excellent sound operators who are Has a Stable Family Life we are all going to make a mistake or say the a blessing to the church. Much of this article is The greater the ministry requirement, the more wrong thing from time to time. Repentance and excerpted from one of my books, the second we have to cultivate and develop a stable family forgiveness are fundamental tools in the mature edition of The Ultimate Church Sound Operator’s life—it’s scriptural, and it just makes a lot of sense. person’s relational tool kit. Handbook, published by Hal Leonard. It’s important that the sound operator’s family be Luke 17:3, 1 Corinthians 12:15–20 (NIV) completely supportive and understanding of the time commitment involved in serving the church Likes to Help Others Succeed Bill Gibson Ministry is much more about helping others is an author, in this important capacity. succeed than it is about succeeding. A sound instructor and Pursues Excellence operator who is easily threatened and somewhat music producer. People who are excellent at one thing tend to selfish isn’t doing the best service to the church or He has recently have the ability to be excellent at whatever they the team. On the other hand, a sound operator worked with choose to pursue. If your sound operator has who likes to help others learn about the system Quincy Jones writing his autobiography published by achieved excellence at something in his or her era in which everything is compared to highbudget film, television, and music videos.
Hal Leonard.

Continued from page 34

life, he or she will probably achieve excellence as a sound operator.

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A fEW MoMENTs WiTH…

By Tom Kraeuter

Accolades and the Glory of God
Michael was just plain tired of being taken for granted. He had been at the church for more than twenty years. He was the first one to arrive on Sunday mornings and the last one to leave when everything was over. He unlocked all the necessary doors and then relocked them when everyone was gone. When there were meals at the church, Michael was the one who made sure there were adequate Styrofoam plates and cups and plastic eating utensils on hand. He had rescued more than one potluck meal through his diligence. Additionally, the church had ornate, beautifully handcrafted banners made by a group of women from the congregation. Michael and his wife were the ones who hung the banners at the appropriate times in the church year. Later, they also stored those banners away for safekeeping. There weren’t many activities at the church in which Michael didn’t have at least some involvement. forks at the next congregational meal, Michael smiled. When he found out that no one knew where to locate the advent banners, he was thrilled. Now they’re starting to realize how much I actually did at that ungrateful church, he thought. Okay, Michael is just a figment of my imagination. But as I travel, I have met Michael in various forms in the worship ministries of churches. The bass player who feels unappreciated; The alto singer who didn’t get the solo part—again—and is not happy about it; The worship leader who feels trapped in the little podunk church in the middle of nowhere; The sound tech who labors week after week and has yet to receive a single accolade. I have encountered many who are certain that no one notices all the effort they put forth. I don’t know you personally, but it is possible that you could be among them. And if you are, I need to ask you a question. Why are you doing what you’re doing? Is it for the approval of man? In other words, is it simply so people will like you? Or, conversely, are you doing it for the glory of God? Don’t get me wrong. I’m not suggesting that recognizing someone for an accomplishment is wrong. Actually, it can be a very good thing for us to honor someone for a job well done. But if the accolades are your motivation for doing it, you’re missing the point. We should live for the Audience of One. If you’re involved in the worship ministry of your church, you will likely never get the credit you deserve from those in the congregation. They simply have no idea of the hours and efforts that are put forth to make that ministry happen. So instead of grasping and hoping for the praises of man, do it for the glory of the One Who saved you. “Do all to the glory of God” (1 Corinthians 10:31).

When it comes to the topic of worship, Tom Kraeuter is one of the leading voices in the Church today. This article Yet after all those years of, as he liked is adapted from a recent installment of to say, “doing it all,” Michael had WorshipMinistryDevotions.com, a weekly had enough. He left the church. No devotional email for worship ministries. warning. One day he walked into the For more information on Tom Kraeuter, church office, handed in his keys, and his books, his teaching, or his Worship The Bible says, “So, whether you eat or Seminars, contact Training Resources, left. No explanation. Not so much as a drink, or whatever you do, do all to the 65 Shepherd’s Way, Hillsboro, MO “Goodbye.” He was just gone. glory of God.” (1 Corinthians 10:31). All 63050, 636-789-4522, staff@trainingMichael was sure that his absence to the glory of God. It’s not about people resources.org, or www.WorshipSeminar. would cause people to recognize just thinking you’re good at what you do. The com how important he was. Truth be told, it motivation should be to honor Him. did. When he heard that they ran out of

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editor’s corner
continued from page 7 it is used as a tool to make music for myself, my wife, and for the Lord’s good pleasure. In fact, that is a mind-blowing thought. The next time you play a guitar solo (or be creative with any type of instrument – your voice included) ask yourself if you can see the Lord smiling because He is enjoying hearing you play/sing that melody line. Music is a gift that God has given us to experience here on earth. Does it make Him glad to have given you that gift in the first place? I want to give Him thanks and love Him back more for allowing us to enjoy making music. May it be said of us that we loved the music like that king who loved the soil. In His Grace! Bruce & Judy

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