JULY/AUGUST 2010 Volume 8, Issue 4

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Record Reviews

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74470 58440

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ALM: uk • Andrew Peterson • Carlos Whittaker Hillsong Live • John Mark McMillan • Yancy

Ultrasound PRO 250 and DS4

Product Review

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Songchart: Beautiful Things • “Awesome” and Other Vanishing Words

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Editor’s Corner

Removing the Safety Net…

JULY/AUGUST 2010

vOLUMe 8, iSSUe 4
46 Product Review By Mitch Bohannon interactive Worship Live 47 Camera By Craig Kelly So You volunteered as a Camera Operator At Church – Uh Oh, Now What? Part 1 48 Guest Room By Grant Norsworthy Awesome” and Other vanishing Words 51 Mandolin By Martin Stillion Leaning on the everlasting Arms 52 Lighting By Greg Sisley Lighting Helps us Hear 54 A Few Moments With… By Manuel Luz Five Dreaded Words

Lately I’ve been feeling like I’m walking on a high wire tight rope and at the same time the safety net below has been removed. It seems I have a need to focus more on what I am doing and apply more faith - all at the same time. The moving 8 forward is exhilarating but the risk of a possible dramatic failure is more pronounced, especially when you look down and not straight ahead. Maybe I should have been walking this way all along, I’m not sure. In the physical sense there is an ancestral precedent for me to feel more at ease walking the tight rope as my grandmother Baba (Victoria Codona Adolph) known as the Queen of the Circus on my father’s side was a slack wire tight rope walker who performed all over the world with Ringling Brothers as part of the famous circus act called “The Flying Codonas”. Baba’s brother was the famous flyer Alfredo Codona, the first man to perfect the “triple” on the trapeze. I know I run the further risk of Johnny Weissmuller as Tarzan some of our readers saying, “Circus folk – that explains a lot about Bruce right there”, but it is true. In fact in the first of the Tarzan series that Johnny Weissmuller stared in it is in fact my relatives from that famous circus act swinging on long vines through the jungle dressed in gorilla suits. This also explains an innate desire I have to wear gorilla outfits (actually I just made that part up but it sounds more fitting to the story don’t you think?). My father strongly wanted to legally name me Tarzan when I was born (as a tribute to the family accomplishments I guess). My mother (being in her right mind) was firmly against it. She tells me that she was sitting in the hospital reading through a
Continued on page 44

Features
Product Review By Michael Hodge Ultrasound PRO 250 and DS4

10 From the Drummer’s Perspective By Carl Albrecht Choosing All-Purpose Cymbals 12 Keyboard By Ed Kerr Check Your Pulse 15 Bass By Gary Lunn it’s the Little Things that Make a Big Difference! 16 Vocals By Sheri Gould A Few of Our Monsters 18 Tips for Tight Teams By Sandy Hoffman Putting the “Meant” in the Mentor (instigating “internal investment intentionality”) 30 Record Reviews By Heidi Todd ALM: uk Andrew Peterson Carlos Whittaker Hillsong Live John Mark McMillan Yancy 34 Foh Engineer By John Mills Talk Back 36 Ministry + Artistry = Profitability? Creating your MAP™ By Scott A. Shuford Fan Development 38 Authentic Worship By Michael Gonzales What if i Have No More Bullets? 40 Guitar By Doug Doppler From Good to Great in Ten eASY Steps… 42 The Band By Tom Lane Aim For Glory!

Interviews

4227 S. Meridian. Suite C PMB #275 Puyallup, Washington 98373-5963 Phone: 253.445.1973 Fax: 253.770.0659 Email: bruce@christianmusician.com Website: www.worshipmusicianmagazine.com Publisher/Editor: Bruce Adolph Vice President: Judy Adolph Customer Service: Brian Felix brian@christianmusiciansummit.com Design: Matt Kees Proof: Toddie Downs Production: Scot Herring / J&D Printing Advertising Sales: Bruce Adolph bruce@christianmusician.com • 253-445-1973 Worship Musician! is published bi-monthly by The Adolph Agency, Inc.

Gungor 20 Beautiful Things on the Road Less Traveled

WORSHIPMUSICIANMAGAZINE.COM JULY/AUGUST 2010

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PRODUCT RevieW

By Michael Hodge

Ultrasound PRO 250 and DS4
I’ve been looking forward to reviewing these amps for weeks! I was introduced to this line of acoustic guitar amps a few years ago at Summer NAMM. I was impressed, though at the time, I mainly played electric live, and acoustic only in the studio. As I and my amazing wife Carrie have focused on leading and teaching worship, however, I’ve discovered that it is much easier to lead a team on acoustic rather than electric. You have a better capacity to control what’s going on musically, since you are holding down the fort on acoustic, rather then playing cool textures and delays and riffs, etc. on electric (which I love as well!). So…WHY an Acoustic amplifier? My biggest challenge playing acoustic in a band is simply being able to hear the guitar. Vocals and other instruments steal all the room in a monitor mix unless you are using in-ear monitors. My solution has been to run a line out of my acoustic direct box into a separately p o w e r e d Mackiet y p e monitor cabinet so that I can have a separ a t e sound source to hear the guitar. Sometimes, I need to run two direct boxes because of grounding issues. It gets interesting! The Acoustic Direct box I use is very nice, but the powered monitor has limited EQ control and doesn’t sound all that good; though again, it is great to hear the guitar! Another challenge with playing live acoustic guitar is that you have to deal with low end issues and feedback. If you are a finger stylist, it can really be frustrating. Enter the acoustic guitar amplifier. Acoustic guitar amps are not new. I’ve checked them out at music stores from time to time and some of them are pretty good – not amazing – and often weirdlooking. Between all the pickup systems and amplifiers on the market, there are a wide range of options. Until now for me at least, the extra monitor cabinet still seemed like the best choice.

to 350hz (to control feedback at high volumes), and an EFX level knob & EFX selector with 16 different choices. There is also a small Shape switch that basically cuts the mid-frequencies and boosts the high and low ones. This is commonly referred to as a “smile” EQ setting. This Shape switch also enhances the function of the Bass and Treble controls in a cool way.

The second channel on both amplifiers is actually designed for a microphone, which is fantastic if you are doing a small intimate gig. You could also plug in another guitar with different settings. The Pro 250 adds a separate Horn volume control for the Super Tweeter, as well as an added Midrange tone control. A nice feature on both amps is the Overload LED, which lets you know if you are pushing Let me now introduce the Ultra- the input too hard. This is a great way to protect your amp from blowing up due to sound Pro 250 and DS4. UltraSound has been making profes- a overpowering direct box, etc. sional amplifiers for over 20 years. Dean In the “we thought of everything” catMarkley bought this promising company egory, both amplifiers add another stereo a few years back. input for a drum machine, iPod, CD playWhen the Pro 250 and DS4 amps ar- er, or whatever. I am really impressed with rived, I noticed the shipping boxes were the back panel of the amp. You will find well constructed. If you are a frequent XLR and ¼ inch outputs for each chanonline shopper like me, you will greatly nel, both individual and combined. There appreciate this attention to quality! My are two Aux inputs as well as footswitches first impression was that the retro cabinet to mute the EFX units or EFX loops. These and grill cloth would look cool on stage. loops are external EFX sends and returns, These amps are compact closed-back one set for each channel. The PRO 250 combos, not too heavy to carry, and you also has a slave feature to link two amps can tell they are well constructed. Stain- together. How cool is that! less steel corners, and solid jacks and switches show attention to quality. The Plugging In: I first tried the PRO 250 with a new Pro 250 comes standard with a tilt-back handle underneath. It’s also an option on YAMAHA NCX1200R Nylon String. I was amazed at how transparent it soundthe smaller DS4. ed. With a little reverb, it was as good a The Pro 250 is the newest model in the direct sound as I have ever experienced. Ultrasound line. It’s a Tri–amped combo Both amps did well with the nylon. They amp with a 10” Eminence Special design were loud and clear. The PRO 250 with speaker, a 4” Ultrasound speaker and an the additional Horn control was especialEminence Super tweeter with its own sep- ly nice. In a live band situation, it could arate level control. The DS4 is a smaller help cut through the clutter. and lighter 50 Watt with 2- 8” Eminence Second, I plugged in a McPherson 3.5 special design coaxial speakers. Spruce-top acoustic. These are amazing The recessed control panels on top of guitars, so I expected it to sound really the amps are simple to understand and good. I was not disappointed! Both amps are user-friendly. There are two channels were very transparent and sounded great. on the Pro 250, each with an indepen- You can dial in the “wood” of the guitar, dent Alesis digital effects unit and selector. and easily get away from that upper midThere are sixteen different effects, in case range thing that makes an acoustic sound you want to get creative. The DS4 has metallic and nasty. The PRO 250 has the two channels as well, with one digital ef- unfair advantage of 200 more watts and fects unit that can be used on either chan- being Tri-amped of course, but the DS4 nel. Both amps have a dedicated guitar is quite loud and clear. The DS4 will be input channel that takes a ¼ inch cable enough for most small live gigs, and the or XLR. The XLR input also has phantom ability to tilt back with the optional feature power for your DI, if you need it. What a as a monitor is fantastic. If you lead or great feature, since many acoustic direct play acoustic in the band, you will love boxes do take phantom power. The con- this amp. I found it hard to stop playing trols on the top panel are Volume, Bass, through the amps at this point, because Treble, an 18 db Notch Filter from 100 Continued on page 44

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JULY/AUGUST 2010 WORSHIPMUSICIANMAGAZINE.COM

WHAT MATTERS

FOCUS ON

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FROM THe DRUMMeR’S PeRSPeCTive
can play every cymbal that’s for sale. If a store will not let you test cymbals don’t buy from them. *You wouldn’t buy a car without test driving it. But don’t abuse the privilege either. Once you’ve played a cymbal for a while move on to another. You should be able to hear pretty quickly what sounds you like or dislike. So what are we listening for? We want to find a set of cymbals that sound good as an ensemble, not just great individual instruments. I play a cymbal all over its full surface. I hit it on the bell, on the edge, and every where in between. I’ll tap soft rhythms and then build into pretty hard “slices” across the edge to hear how it sounds as a crash cymbal. Yes, even on the ride cymbal! When I hit a crash I’ll let the sound decay as long as possible and listen carefully to how the tone fades. It should have a smooth, shimmering decay. If it sounds like it’s flanging or making a wave tone I’ll try something else. When playing “ride” patterns, does the cymbal maintain good stick definition or does it start to “wash” out? Crash cymbals will probably do that anyway, but I try to find at least one that could be used as a ride cymbal too; maybe the 18” crash. Ride cymbals should definitely stay controlled. They should flow with the intensity of your playing. If you love the tone of a ride but it wants to wash out too soon you could put a little tape on it. I’ve got a couple like that; they sound great but I had to put a little tape underneath to “dry” them out a bit. Once I’ve found individual favorites I’ll set them up together. I’ll play patterns on the whole set and listen carefully to see if they sound great as a group. You should notice very distinct pitches. Ride to crash; splash to crash; top hi-hat to crash, etc.
Continued on page 50

By Carl Albrecht

Choosing All-Purpose Cymbals
Finding the right cymbals for your style of playing can be one of the most challenging and frustrating tasks for a drummer. With so many options you might feel like it’s trying to find your favorite tree in the forest. You end up with that feeling of being totally lost in the woods. Well come along with me and let’s go cymbal hunting. I’ve walked this trail before. I use the Byzance series from Meinl; very similar to the classic A series from Zildjian. You could probably compare that to the AA series from Sabian or the Signature line of Paiste cymbals. All of these models are the top of the line for each of the companies I mentioned. And along with that comes the top of the line price. When buying cymbals you can not cut corners. I recommend buying fewer Let’s first decide what you want to ac- pieces and getting better ones if your complish. Do you need cymbals for a budget is tight. When buying drums you heavy rock band or a jazz trio? Is your can spend a little less money and still style more latin or classical? Or maybe get a great sound with good heads and you just want a great “all-purpose” set of proper tuning. Cymbals are a whole difcymbals to do everything. ferent story. So with the set up I’ve listed you could easily spend $1000 or more. I would definitely recommend having a set of cymbals that will cover all To save money you could buy used the bases. Don’t think of getting weird cymbals but be sure to test them and in“special effects” or “style designed” cym- spect them carefully. Hold them up to a bals if your budget is limited. Look for a light and look for any small cracks. Also good ride cymbal, a couple of crashes, look for sales at your local drum shop or a splash, and a great set of hi-hats. You shop on line. There are some great web can add to your collection later, but use sites that have tons of drums and cymbals this as a starting point. to choose from. Take your time and don’t feel pressured to buy. What company makes the best cymbals? To be honest, all of the major cymIf this adventure is new for you ask the bal companies are making great instru- salesperson to show you a large variety ments. And they all offer a large variety of cymbals to try out. Most drum shops of cymbals to choose from. So I say, “Play will have a room what inspires you.” I personally prefer where you MEINL cymbals. But I am also aware of what the other manufacturers are making. I just happen to be very happy with what I’m hearing from Meinl. Here is what I look for in a “general purpose” set of cymbals. They have to sound good in all the styles of music I’m playing so they can’t stand out individually or have a tone that is identified with a certain style. For instance in jazz the cymbals are often lighter and sound dry and dark. In rock music they are usually heavier and sound cutting and harsh. That’s not always the case, but just a general reference. So in my “all purpose” set up the cymbals are a medium to medium thin weight. And the sizes are what would be considered the current standard. A 20” Medium Ride, 18” and 17” Medium crashes, a 12” splash, and 14” Medium Hi-hats. This is what I call the modern standard package.

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KeYBOARD

By Ed Kerr

Check Your Pulse
Yesterday, like many of you, I included “Revelation Song” in my set of worship songs at church. Amazing song! When we begin the intro, playing that mystical, rich chord progression, you could feel the crowd’s anticipation build toward the first lyric, “Worthy is the Lamb Who was slain…”. As the band vamped on those chords, I realized that I needed to check my pulse.

making has an internal clock. They don’t need a steady flow of notes of the same value, as in example A, to get the meter of the song. The listener’s internal clock will fill in that space on beat three, shown in example B. Play example A a couple of times. Then play example B a few. Hear that internal pulse on beat 3? You’re not playing it, but it’s strongly felt. Experiment with this concept in your next worship team rehearsal. I bet you’ll all feel it, and the exercise might help you recognize that you tend to fill your measures with activity rather than respecting your audience’s internal clock. Listen to your favorite worship recordings looking for examples of this principle. They’re everywhere.

Here’s another of the many variations possible for what your keyboard part might be. In it I’m using the notes shown in the Huh? You do, too. Many of our most well-known worship right hand of examples A and B to create a melodic, linear patsongs are ballads, songs played at a slow tempo. Songs like tern. Note that I’m still placing a half note on beat 2 of each Mighty To Save, How Great Is Our God, Your Name, Here I measure, playing nothing on beat 3. The internal clock concept Am To Worship. Presentations of these songs often feature the influences the part for sure. Example C: chords played with a quarter note pulse. And that’s where you and I as keyboard players, along with everyone else in your worship team’s rhythm section, have some decisions to make. We need to check our pulse. The most basic issue your team needs to settle is which band member is going to provide the basic pulse. In the case of this song, each chord is heard for a full bar. The chords are:

A frequently heard arrangement will have a keyboard player establish the pulse with an acoustic piano sound. Works nicely. If you’re like me, the band you’re playing with includes at Establishes the mood. Sets up the vocalists. Looks like this, ex- least one guitar, usually two, an electric and an acoustic. Alample A: ways remember that you and your 88 keys, or however many your keyboard has, don’t have to provide the main activity. Someone playing an electric or acoustic guitar could definitely play the activity here. A pattern like what you see in example C above would work nicely when finger-picked on an acoustic. If that’s your arrangement, call up a pad or legato string sound on your keyboard. Example D: If this is how you present this song or other ballads, check your pulse. There’s clearly nothing wrong or inappropriate about playing exactly what I’ve written above for your intro. Repeat it for your verse. After repeating the activity a few times, though, let your musical radar alert you to the fact that it’s probably time to change the activity. Remember that in this song the same progression is used throughout the song so it’s important for everyone on your team to consider what they’re going to do to contribute to the musical momentum of the arrangement. A million options. The first option I want to show you is a simple variation of what’s written out ahove. This option will feature a quarter note, half note, quarter note pattern. Nothing is played on beat 3. Like this, example B:

Notice, too, that the left hand only plays whole notes, the root of each chord held through the whole measure. Checking your pulse suggests that you scrutinize any activity you’re playing. Because the right hand is active, that long note in the left hand complements it nicely.

With this example I’m beginning to go beyond the chart, adding color tones to the chords. When playing pad sounds, this is especially effective. I played the C as a C2, leaving out E, the 3rd, and adding D, the 2nd. I added the 4, C, to the Gm7. I made the Bb a Bbadd2, adding a C, and made the F an F2, leaving out A, the 3rd, and adding G, the 2. These few examples give you a tiny glimpse into the infinite variety that you and your team can give these four chords or the chords of any of your songs. Check your pulse, you and everyone else in your band, and you’ll see the musical momentum you create grow significantly. Visit my website, kerrtunes.com, to hear audio examples of what you see here. 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 a Yamaha’s Motif XS8. www.kerrtunes.com

This pattern of short note, long note, short note utilizes a concept I call the “internal clock”. As a part of a rhythm section, I want to respect the fact that everyone listening to the music I’m

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BASS

By Gary Lunn

It’s the Little Things that Make a Big Difference!

In just about every type of art it is always the little things that set one artist apart from another. With a singer it can be the subtle edge that he or she has. With a painter it can be their use of different color intensities juxtaposed on a canvas that can set that particular artist apart, stylistically. I believe that the same applies to bass players so much so that you might find it hard to tell exactly what it is, but whenever you hear a particular song with that player on it, you absolutely know who it is. So, why is that? I’d like to discuss some of the possibilities for that in an effort to inspire you to “come in to your own” (if you haven’t already). Then again, the effort to come into our own will continue until we go to heaven, hopefully!

Attention! Every musician in the worship team must learn to pay close attention to signals given by the worship leader. Watch their eyes, hands, and body language to discern what they want to do next. Learn their hand movements on their instrument. It will make it easier to tell where they’re going chord-wise. Try and position youra harder touch that gives me a more de- self where you can see their left hand, fined tone, but all of my basses are not set being mindful of dynamic changes before up that way. Some are set up with lower they occur. action and lighter strings which requires that I play with a softer touch, utilizing the tips of my fingers more. It is a mindset that I must establish with every instrument I play. This actually keeps things more interesting for me, inspiring me to play differently on each instrument from a creative standpoint.

Setting Yourself Apart for the Kingdom At any job there are always little extra things you can do to perform better, to leave a better impression, and to help the person you are working for (or with) feel like they are better taken care of all through the job. As a bass player there It’s in the Hands As I have stated before, in my opinion, are many things you can do as part of the about seventy percent of a bassist’s tone band, not only to bless the worship leadcomes from the shape of his fingers and er, but to bless your fellow band mates as the way he plucks the strings, mutes, etc. well. It’s always good to leave a great That is probably the least subtle of nu- impression of servanthood and humility ances that give a bass player’s identity with people you encounter as you play. away. You can line up 10 guys to play the same bass and it will sound like 10 Think Professionally Playing consistently is a necessary skill different basses. That fact right there can really set bass players apart, at least from to develop. By consistent I mean your volume level. You want to play evenly and a tonality aspect. smoothly at all times, without the ‘sound man’s surprise’; painfully loud bass notes Note Value(s) There are very subtle differences to suddenly blaring! Also, it helps to try and various note characteristics that really play with a consistent finger pressure (+ make different players sound stylistically or - 10%)! And during sound check make different. For instance, the distance vari- a conscious effort to give the front-ofances between the notes that we play will house engineer 98% of your “real” loudalways have a small degree of “swing” to est bass volume. It is a very professional them. No matter how “straight” we play and considerate thing to do them there will always be tiny but different Be as prepared as you can as to your degrees of distances between the notes, level of familiarity with the music you’re creating our very own groove, orstyle. playing. Practice and learn signature Another factor in our individuality is in lines that may be applicable to particular the way that we shape notes differently. songs and be mindful of the song’s theSome bass players pluck the strings from matic or “expected” lines. Write them out the tips of their fingers, creating a faster if you can’t commit them to memory. attack time for each note. Others pluck from slightly down the front side of their “Take a Chart” Dictation (the ability to write a chart fingertips, creating a slower, more gradual attack time for each note. This can by ear) is a skill that is only learned with make one’s playing feel “bigger” since practice, and can be extremely handy if it aids the downbeats in feeling “wider” you happen to find yourself in a setting and broader. Of course, finger shape af- where a new song is being played, either spontaneously or from a song-change infects both of these approaches. spiration by the worship leader. Always Related to plucking style, the string- keep a few extra pieces of paper and height (or action) on the instrument played a pencil nearby whenever a new song can greatly affect a player’s tone. For me, is played. greater string height allows me to have

Painting by Janet Hyun www.Janethyun.com Set a part In choosing the right bass part an important aspect to consider is to take care not to play lines that are too “pattern” conscious and to strive to play those that are more “part” conscious overall. Consistency in a bass part is key; dynamic range in a planned fashion can really impact a song. Try playing in a higher register, as songs generally start “small” and finish “big.” Attempt to “save” the big notes on the fifth string (if you have one) for the last chorus or vamp section. The low power the fifth string offers when used at the right time can greatly affect the overall impact of a song and really help move the spirit in the worship. Be richly blessed! Gary is a session player/ producer/writer in Nashville, playing sessions and at his home studio. Find him on face book or at www. myspace.com/lunnbass.

WORSHIPMUSICIANMAGAZINE.COM JULY/AUGUST 2010

15

vOCALS

By Sheri Gould

A Few of Our Monsters
Cowardly Lion: I’d be brave as a blizzard... Tin Woodsman: I’d be gentle as a lizard... Scarecrow: I’d be clever as a gizzard... Dorothy: If the Wizard is a wizard who will serve. Scarecrow: Then I’m sure to get a brain... Tin Woodsman: A heart... Dorothy: A home... Cowardly Lion: The nerve! I found this cute little dialogue from “The Wizard of Oz” quite appropriate for my topic this month. And not only this dialogue specifically, but the whole way in which the problem of the Cowardly Lion is set up in the movie and resolved. His struggle is one of courage, which in some ways is not so very unrelated to us as singers dealing with “nerves” or what used to be commonly referred to as “stage fright.” So let’s have a look at how his problem hindered him and how he found resolution to see if we can’t find some help for ourselves along the way. Why do we get nervous when we’re about to sing in front of people? Like the Cowardly Lion, our nervousness is directly related to fear. It might seem silly to us if we break it down. We’re not feeling afraid of anything per se, right? What’s the worst that could happen? It’s not like we’re in any real danger. But most of the time, I think that our fear is related to the possibility of failure. Just like in the case of the Cowardly Lion, though, our fear is not based so much on truth as it is in a few scary monsters. A few of our monsters might be: sounding awful forgetting the words being out or tune running out of breath being judged…etc Are these monsters real? Maybe, but maybe not. The more important question is, what can we do about the fears? Be Prepared! The biggest step you can take toward alleviating nervousness is to be completely prepared. The better you feel about the song(s) you’re singing, the less nervous you’ll be. Think about it: if you KNEW you were going to stand up there and sound amazing, you wouldn’t be nervous, right? That is nearly 100% true, so be prepared. Know your words. Know your stuff. A good rule of thumb is never sing anything in public that you haven’t sung at least 100 times at home. That will also help ensure you have the song memorized—please, please don’t insult your audience by singing a song with music in front of you (unless you’re playing an instrument). It communicates a lack of preparedness and investment in your audience, which translates to a lack of caring about your audience. ting), not to judge you on your singing ability. All you need to do is the best job you can at helping them to experience what they came looking for. Your message is what sets you apart from the instruments, so make sure your have clear in your mind what exactly Work through the difficult passages un- you’re trying to communicate—then comtil they are no longer difficult—or at least municate it. Think less about singing and until they become manageable. If you more about communicating. That can just can’t smooth out a certain section of take some of the fear out of it—you know a song the way it’s written, and you can’t how to get a message across right? switch the song, then consider a slight re-write; the overriding principal here is Stuff Happens that it is better to do something well then I hate to say it but it’s true. Even with the to be 100% true to the original. “Mak- best of intentions and preparations, things ing it your own” surely is a better option can go wrong. In my younger days, dancthan singing it exactly as the original, but ing was a big part of my life. My dancpoorly. To better prepare those difficult ing partner was my older brother. For one passages, try breaking them down to a competition we worked especially hard. simpler form. For example, try singing Weeks and weeks of preparation left us through the passage on just one vowel. standing in the spotlight completely preTry slowing it wayyy down; if you can’t pared to do our amazing routine. The musing something slowly then you can’t sing sic started and we stared blankly at each it sped up correctly either. You probably other. We both froze. We had both comjust think you’re singing it correctly! pletely forgotten the routine in a momentary blank out! What were the chances Record Yourself! of both of us forgetting t the same time?! One of the best tools we have with re- Here’s is where out preparedness paid gard to preparing ourselves. One way of off: we simply began to improvise. Our taking some of the ‘unknown’ factor out of skills had been honed and though we had the performance is to record ourselves. A temporarily forgotten the correct order of good audio recording is worth its weight steps, we still had the skills to dance well. in gold to a singer. It will also help you to In the end, our “improv” dance won us mentally prepare yourself for exactly what first place (and a bunch of sweaty clothes will happen during your performance. and frazzled nerves!). It was our overall There will be less to be nervous about skill level that in the end saved the day. because you’ll know exactly what you’re So, work on your overall singing skills on going to sound like. Some of you may be a regular basis, so that when push comes cringing right now at that thought! Lis- to shove, you have what it takes. ten, the reality is that you’re most likely already singing in front of people right? In the end, once the truth of the CowThey already know what you sound like! ardly Lion’s fears was exposed, he was They asked you to sing anyway, so what better able to deal with them. With confisounds foreign to you is acceptable to dence in his ability, he was better able to them. Listening critically to a recording tackle whatever came his way. Similarly can also help you to ‘fix’ some things be- with us, although we can’t eliminate nerfore you actually sing the song in front of vousness altogether, we can take a big people. So take the time to employ this bite out of it and its ability to derail us. very important tool. Oh, and did I mention PRAY!!!??? Mental Mindset “The only thing we have to fear is fear Sheri Gould has a BS in itself!” There is so much truth in these words. Please take some time to re-think Music Education (Vocal/ how you approach the world of public Choral) from the University singing. We tend to elevate the people of Illinois. A church music (Choir/Worship in our audiences/congregations to some director sort of status that really isn’t accurate. Leader) since 1985, she also teaches They are just people like you and me. vocal techniques at various workshops They are looking to experience something around the country. Send your questions (what that is exactly, depends on your set- to: sherigould1@aol.com

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JULY/AUGUST 2010 WORSHIPMUSICIANMAGAZINE.COM

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TiPS FOR TiGHT TeAMS

By Sandy Hoffman

Putting the “Meant” in the Mentor (Instigating “Internal Investment Intentionality”)
It just happened again! It was “Byebye Mike,” this time. Could just as easily have been Ryan or Raymond or RJ or Matt or Mark or Jen or… you get the picture. Somebody’s gone. History has repeated itself. Gone. A person I’ve believed in, encouraged and equipped to be their very best in a life of worship ministry. A protégé, a mentee, a twenty-first century disciple. Someone I’ve learned I can depend upon to offer consistent, quality contributions to the weekly worship ministry. Now they’re gone at the behest of One Who’s plan supersedes my own. My “scheme,” to get everything on the worship team working just perfectly, then freeze it in perpetuity, appears to have been askew. Why does it seem that those in whom we invest the most are often the most likely to be Divinely relocated? Perhaps it’s because they’ve been properly prepared, and the Lord is now ready to release them into His greater plan for their lives and the lives of others they’ll impact. I’d really like to think that’s it! fields, for they are already white for harvest!” In verse 38a, Jesus follows with: “I sent you to reap…” NKJV In these verses, there are obvious steps which the Lord takes in the process of working Himself out of His earthly job.

“king of the hill,” we can begin to imagine a threat to our worship-turf. Worst case scenario, we may even suffer from what I would call “paralytic procrastination.” This basically means we become like deer in the headlights; frozen in our own tracks by our desire to stay on top! But look at the heart of Jesus as He encouraged His disciples in John 14:12b:… the works that I do [you] will do also; and greater works than these [you] will do… NKJV Notice that pride never entered His picture; just the sheer pleasure of seeing others released into their full, Godly potential. This is the true heart of a mentor! Content to Ment’ I’ve just returned from the annual Worship Mentors Network Gathering (www. worshipmentor.com). I am more determined than ever that I must continue to always be working myself out of the job! How about you? Wouldn’t it be cool to become an “intentional investor” in the lives of those the Lord leads to you? If your answer is “Yes,” here are four fundamental steps which will help to get you started: 1- Identify potential mentees through observations and conversations which result in revelations. 2- Approach the potential mentee and present the possibility of mentorship. 3- Relate with the mentee on multiple levels. Emphasize listening first (on your part) then speaking. Remember: God created us with two ears and one mouth! 4- Release the mentee to “be what they be!” Just as Jesus did, send them out to reap. Identify, approach, relate and release. These four points, coupled with your hearts’ desire to serve and encourage others, will enable you to put the “meant” in your mentorship. No longer will your investment in others be by happenstance. Instead, you will become intentional, instigating input infused with Divine inspiration and the wisdom of Godly instruction. Yes, it will break your heart to see ‘em go. But you’ll wave good-bye knowing they’re taking a part of you with them into a future which God has planned! Meant to Mentor, Sandy Sandy Hoffman serves The Grace Community Church in Santa Fe, NM, where he is the Minister of Worship Arts. Check out his new instrumental acoustic guitar CD, “Sereno,” at: www.EssentialWorship.com

1- First, He stated clearly that “His [job] was to do the will of Him who sent [Him]...” After this, He demonstrated to the disciples how to get the job done through His use of miracles, teaching, debating and down right living love. 2- Next, He worked alongside them, encouraging them to see for themselves the “white fields ready for harvest.” This step allowed the disciples to begin to take ownership of the job themselves, while still providing them the safety net of Jesus’ physical presence. 3- Finally, He “sent them to reap…” He released them to do the job He had prepared them for. Jesus taught The departure of someone we’ve by example, freely allowing others helped to grow into a vital worship minto assume the job He was performistry partner can be a real “head scratching on earth. His position as God/ er!” The good news? Often times the joy man was not threatened by emof seeing a protégé released into a minpowering others to participate with istry of their own, their gifts and calling Him in the mission He had already used to the max, far outweighs the pain begun! of letting them go! Hindrance Schmindrance! Out of a Job In some way or other, even if you’re not During the most grueling worship minis- the designated leader, you can become try interview I can ever remember, I made a great mentor too, releasing members a comment which very nearly cost me the of the worship team you’re serving into job opportunity. When asked about some full use of their gifts. Good mentors, disof my goals for personal worship minis- ciplers, managers and trainers seem to try, I answered that my number one goal have at least one wonderful thing in comwas to always be working myself out of mon: they are always working to raise up a job. I found out later the Board simply others to equal or exceed their own level didn’t “get it.” This nearly disqualified me of expertise. The hearts’ desire of a menfrom the candidate list. As Ricky Ricardo tor should be to give the mentee the tools used to say on “I Love Lucy,” I had some he or she requires to rise to the heights of “splaineen” to do! My potential employ- their abilities. The mentee is then released ers wanted to understand what it meant to to do what they were created to do; sework myself out of the job. I looked to the cure in the fact that they’ve been believed Gospel for the “splaination.” in, invested in and encouraged by someone who’s pulling for their success. In the Book of John 4:34 & 35, Jesus said to them, “My food is to do the will of The greatest hindrance to this type of Him who sent Me, and to finish His work. input into the lives of others (you may alDo you not say, ‘There are yet four months ready have guessed) is PRIDE! If we live and then come the harvest’? Behold, I say in fear of loosing our own position as to you, lift up your eyes and look at the the “best,” “most professional,” “expert,”

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An interview with Michael Gungor by Aimee Herd
Remember back in the third Indiana Jones movie when Indy reached the chasm and had to take ROAD LeSS TRAveLeD that “step of faith” into seemingly nothingness—and then bam, his foot landed squarely on a stone bridge that had been camouflaged? In a similar way Gungor has followed their heart and created a work of art that is a step into the unfamiliar with both their new recording “Beautiful Things” and the performance events that compliment it. Just like Indy, Michael Gungor seems to have found a firm foothold in the yet-to-be-explored, and it works well.
Aimee Herd: Michael, I’ve got to tell you I love it when something crosses my desk that sparks the eclectic nerves in my brain, and your album Beautiful Things, did just that. To start with, talk a little about the concept or the theme of this project. Michael Gungor: “Beautiful Things”— that God can bring beautiful things from dust, and makes beautiful things out of us—is a fairly common theme throughout the album. In noticing and experiencing the pain that can be part of life, a lot of the album was written out of some times of pain that were experienced personally and with people in our community. But then [the album explores] the other side of that which is hope; that God is not distant from our pain. I think that’s the story we see on the cross, with Jesus. God is not “out there” watching from a distance, but in Jesus, He actually shares with us in our sufferings. And, He can also make something out of our pain and the chaos of the world—there’s a direction and a story to it. Somehow He makes beautiful things out of the dust. AH: I want to ask specifically about some of the songs on this recording, but first—sonically—this album seems to be on a whole other level in uniqueness, even from previous projects you’ve done. What brought about that direction? MG: Well, first of all, I produced this one myself for the very first time... that was one change... AH: Was that a challenge for you? MG: Oh yeah, it was hard. (Laughing) It was a lot of work. We basically rented a house, brought gear up, set up and just started making noise. It was fun, I really enjoyed it. But, doing all the editing myself—all the string

NGS ON THe

photos by Ben De Rienzo
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arrangements—it was just a lot of work. I guess another difference between this and some of the stuff we’d done before is that, with this record, I really took the art of it seriously. It became part of the message. I think sometimes in Christian music, the message is so important to us that often the art takes a secondary place. I think when we do that, it kind of makes the art feel like propaganda, like it’s just a means to carry the message. Rather than realizing that art, within itself, is a sacred thing. The crafting of it and the forming of it is creation, and what it means to be human and to worship God. So, the art of it was just as important to me as the message it was carrying. I really tried not to compromise in that area. For Ancient Skies I wasn’t terribly mindful of Christian radio, but I was more mindful of it. It did come up—“is that a little too much for Christian radio?”...etc. For this record, I didn’t care at all. (Laughing) I just made what felt right in my heart. I’ve always had this

balance—because I’m a worship leader— of not just doing this for myself, but helping others worship and experience God. But, there’s a tension, because I also feel that I have to be faithful to what God’s called me to be. So, this record was more “let me make what moves my soul and maybe others will also be moved.” I took my liberties. (Laughing) AH: Well, if you think about it, God is the Creator and the ultimate in creativity. So, when you’re creating art, you’re kind of hooking up with Him, it seems natural. As someone listens to Beautiful Things in sequence, they’ll be met head on with the first song, Dry Bones... MG: I think the two sections of the song— the verse and the chorus—were written at different times. It starts with the classical guitar and dissonant sounds of “My soul cries out...dry bones cry out for You...” That’s really what I was experiencing when I wrote it, just a really dry time, wanting to feel again, wanting to experience God’s presence again. And then, the chorus, I think, was

written during a more hopeful time when I was probably feeling a little bit more of His love. I made them work together so there is a flow to the song. AH: What about the song Cannot Keep You? MG: I feel like it’s so easy for us to form an image out of God. The Bible says we were made in His image, I think sometimes we try to make Him in our image—an extended version of ourselves (maybe a better version). Idolatry has been around forever. Whether it’s actually crafting an image or just having these concepts in our head where we contain God. God is infinite—there is nothing that can define or box Him in. We travel a lot, ending up in a lot of different churches, and I’ve heard a lot of sermons where God is neatly packaged and figured out, and the “infinite” seems lost. So, Cannot Keep You kind of deals with that: “They tried to keep You in a tent, they tried to keep You in a temple,” talking about old

JULY/AUG 2010 WORSHIPMUSICIANMAGAZINE.COM

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GUNGOR: Beautiful Things on the Road Less Traveled

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in and limited Him. I hadn’t realized that all beauty comes from Him, and that all creativity comes from God. And then, as I was starting to walk into the Christian music industry, I realized that not everyone there was in it for the purest of motives, and that not everyone was even a Christian. It is a business, and there’s nothing really “holy” about the Christian music industry. There are some people in it that are great, as I’m sure there are in the mainstream market that are great. I saw the lines blur, and realized that music itself can’t follow Jesus—it’s made of sounds and vibrations. There have been a lot of people who use lots of “Jesus words” but don’t believe anything they say. There’s a passage in Scripture where God says, “...away from Me with the noise of your festivals... I hate the sound of your music...” I’m sure they were singing all the right things, and had the required “J.P.M.” (Jesus-per-minute) count to their lyrics... (Laughing) AH: I like that... “J.P.M.” (Laughing) MG: Well, I guess Jesus wasn’t on the scene yet so I guess it wasn’t that... AH: It was “Y.P.M.” then: “Yahweh-perminute!” MG: That’s great. (Laughing) But, despite all that, the music was still ugly and gross to God [who looks on the heart]. A Christian accountant doesn’t keep the books then scribble “Jesus” over all his work. In the same way, just because you’re a Christian songwriter, it doesn’t mean you always have to put Christian lingo throughout every song that you write. Just be a musician; write songs and do what you do, and love and follow Jesus. I’ve seen too many musicians apologize saying, “Yeah, I’m a musician, but it’s not really Christian music...” I just want to shake them! (Laughing) “What are you talking about? You’re doing a beautiful thing, where’s your heart at? Do what you’re doing but do it well. You’re the Jesus-follower, not the music. You don’t have to apologize for who you are and who God made you to be—you don’t have to fit into some little box that the industry made up, to feel like you are really serving God with your talent.” AH: So then, what are some of the ways that Believers, who have been immersed in a church culture for so long, can begin to expand their worldview in a way that doesn’t compromise their walk with God? MG: Well... read good books that challenge your mind, not just ones that agree with you all the time. Watch your heart while you’re reading though, sometimes if I read too many books that are jaded, I can sense my heart getting harder and more cynical. ...Listening to, and associating with people that aren’t exactly like you. …Anything that will

time idolatry and trying to limit God. Even in these times I’ve heard people using the Bible—which beautifully helps you dive into the infinity of God—to neatly figure out the limitation of God. AH: The Earth Is Yours seems to echo strains of Psalm 29, but did the move to Colorado, and the scenic imagery there also help lead to the writing of it? MG: I think that is also part of why the album sounds differently from previous ones; what works in Colorado for our community—the kind of life we live and the people around us—is quite a bit different than it used to be. I think the places where we live always impact us, and that comes out through our music. AH: So, the music on Beautiful Things is born out of songs written for your community there, or where they written specifically for the album? MG: Most of the songs were written for our community first. Some that are more artistically-driven I wasn’t able to find a place for, but almost all of them had a place in our service. A lot of them were written about things we were going through together. We Will Run to You—we were talking about repentance at church, and I realized we didn’t really have a song about repentance to sing. I was teaching on that subject that night at the church, so I said to my wife, “Lisa, I need a song. Write me a song about repentance.” So she went in and wrote Run to You. AH: Now, Lisa—your wife—sings and plays keyboards and more in the band, and you often write with her. How does that process go, in co-writing together? MG: We live in the same house, so if she’s playing the piano I hear it, and if I’m playing the guitar she hears it. A lot of
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times we’ll be writing and have ideas and just share them, “Hey what do you think about this?” Once in a while I’ll say, “Just give me a few minutes with this alone...” But, most of the time, at some point I’ll say, “Hey come here, let me get your ear on this.” It’s nice; I’ve collaborated with her more than anyone else. Of course early on, we had to learn about throwing out ideas and having them shot down, not letting it get personal. I think we’ve learned how to do that pretty well. AH: That’s good because it could be a touchy thing. You also collaborated with Israel Houghton on Say So... MG: I tried to make the album a little eclectic; however, there are some boundaries that would be a little ridiculous to cross on the same album. But, I love to get way outside of our boundaries sometimes and do some jazz stuff like Israel’s band. I enjoy diversity myself; I studied jazz in school and I like opportunities to think outside of my normal thinking. AH: Speaking of thinking outside the box, I really enjoyed your blog entry titled “There’s No Such Thing As Christian Music.” You’ve gone through some transition and transformation over the years in your paradigm of Christianity and Christian music... share a little about that. MG: I grew up only listening to what we labeled as “Christian music.” While I’m glad I avoided some of the music that did trip up some of my friends and seemed to make them darker, I feel like I missed out on some good music. There was a lot of music that my friends were inspired by that I never got to be inspired by. As I’ve grown, as my understanding of the Gospel has broadened a bit, and as I’ve just walked this journey...I saw the way that I grew up, how small ideas and limited concepts of God had boxed Him

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GUNGOR: Beautiful Things on the Road Less Traveled

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praise team” or something like that, because I was a worship leader and I had a band. So, we changed it to “The Michael Gungor Band” so I didn’t ever have to hear “...and his praise minstrels” ever again! But, I never really liked that name; it felt really “about me.” I wanted to find a way to make it less concretely about me, without losing all recognition from the ones who did know us, so “Gungor” seemed the way to go. Basically, I wanted people to come to a show, not to “see Michael Gungor perform,” but to take in a transcendent experience that’s much bigger than one performer. It feels better to me. AH: What about the venues where you play, are you still playing in churches or are they becoming more neutral now, considering your direction? MG: In the past, we’d get hired into these gigs where they set the tone, and it’s their event, and we try to serve them within that culture. Doing that is fine, but I always feel like there’s something I would do differently. I wanted to get more purposeful with creating the kind of experience that I have in my heart to create when we do a concert. So that was the birth of the Beautiful Things events, shortly after we released the record. They are basically my dream gig. I was the promoter; I booked mostly in theaters. In the past we’d have to focus more on the congregational, more “churchy” songs on our record, which left the more artistic side of our record untouched. So, this [Beautiful Things events] was leaning more the other way; we decided to dive into the art. We bring our whole team on the stage—there are like 10 to 12 of us—on the stage. There are strings and this giant scrim that has this dimension video with visual content going on. There is poetry, and it’s comprised of three movements. We’re formally dressed and it almost feels like a kind of worship recital. (Laughing) The idea was; we took this worship music out of the church, and just worshiped. You know, if you went to see Sigur Ros, it’s to experience something. I wanted it to be like that. I wanted to create that transcendent movement from the moment

people walk in the door. It’s been unlike any worship experience that I’ve been a part of, but I love it! We hardly talk through the whole thing, there are these long musical movements and it’s interesting to see people’s reactions. They don’t know what to do sometimes, they’re just staring, and then other times they become overwhelmed and throw their hands in the air worshiping. People have been really moved, and have experienced the worship in a kind of different paradigm. AH: Have you done these concerts across the country yet, or are you just starting to do that? MG: We’re just starting to do that. I paid for the first five myself; we did those in cities where we knew a lot of people and had a lot of friends. We’re about to add a couple more in Nashville and Pennsylvania, and we’re trying to get some booked in Canada and a few on the East Coast. AH: Are you really into gear, and what do you prefer? MG: Gear-wise, electric-wise, I have a Strat and a 335 that I also play live on. I had a beautiful Gretsch that got smashed by United Airlines (thank you very much, United). AH: Uh-oh another video saga of a smashed guitar. MG: Yeah, no kidding! And then, pedals; we use a lot of Fulltone pedals, I have a Cusack Screamer that I get most of my overdrive with. But, I’ve never been the major gear guy. Brad—our guitar player—is kind of the “gear-nerd.” My acoustic is an Olson Guitar, which is not “cool looking” at all, but it’s just magical to me. I’ve had it since I was 15, and it’s my baby to play. AH: Do you have any future plans besides the Beautiful Things events that you have planned? MG: We’re still engaged in our local church, “Bloom”; I try to get back as much as I can (we do Sunday night services). And Lisa’s pregnant... AH: First one? MG: Yeah, first baby—a little baby girl’s coming. I know I’m going to have some good balancing to do here—wondering if the baby will travel with us or not. AH: Yes you will, but that’s exciting, congratulations! Learn more about Gungor, and read Michael’s blog at: www.gungormusic.com

enlarge your heart and mind for people that you wouldn’t normally come across. AH: Michael, you chose to sign with a mainstream indie label for Beautiful Things, what led to that decision? MG: In the same mindset as I approached the [writing of] the record; I didn’t want to be forced into any kind of box. When I met the Brash guys [Brash Music], there was just something so refreshing about them. I can talk honestly with [Steve Jones] the president of Brash, and he doesn’t pretend...he’ll tell me, “I don’t know what the worship music thing is all about, you’re the one who knows how to do that. I’m not going to tell you what to do or how to make the record.” He gives me freedom to make the kind of record that I want to make; he’ll give me his opinion but he doesn’t claim to be an authority on leading worship. It just felt right, so I went with them. AH: And, changing your name from “Michael Gungor Band” to just “Gungor”... what was the reasoning there? MG: The name “Michael Gungor Band” was never very intentional, it just kind of happened. We were always getting introduced as “Michael Gungor and his
24 JULY/AUG 2010 WORSHIPMUSICIANMAGAZINE.COM

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SONGCHART

A and MICHAEL GUNGOR LISA and MICHAEL GUNGOR

eautiful Things Beautiful Things
A/G G D A/G Bm7 DD/F#Bm7 D/F# Daug F#m Daug F#m

Y OF [D] KEY OF [D]

RSE 1:

A/G
this

D A/G G
pain; this All

VERSE 1:

D
pain;

G G

A/G

G D A/G G

A/G

D A/G

CHORUS 2: CHORUS 2:

D

D

nder if I’ll wonder if my ever find my way? I ever find I’ll way?

You make beautiful things, You make beautiful things, You make beautiful things out of things out of the dust. You make beautiful the dust.

nder if mywonder if my life could really I life could really

7

D/F# Bm7 GD/F# A/G D A/G G
earth; All this

D A/G G
all?

D
You make beautiful things, You make beautiful things,

nge at Change at all?

A/G
this

D
earth;

Daug
You make beautiful things out of things out of us. You make beautiful us.

Daug

G A/G G

D A/G G A/G G

D A/G

G

G

ld all that is lost ever be found? be found? Could all that is lost ever

You make beautiful things, You make beautiful things, You make beautiful things out of things out of the dust. You make beautiful the dust.

ld a garden come up from this up from this Could a garden come

7

D/F# G D/F# D A/G Bm7 A/G G
Ground at all? all?

D

D

D

und at

You make beautiful things, You make beautiful things, You make beautiful things out of things out of us! You make beautiful us!

ORUS 1: CHORUS 1:

D

D

F#m D G F#mD

G

F#m D

G F#mD

G

D

make beautiful things, You make beautiful things, make beautiful things out of things out of the dust. You make beautiful the dust. make beautiful things, You make beautiful things, make beautiful things out of things out of the dust. You make beautiful the dust.
BRIDGE: BRIDGE:

D D

DF#m DF#m

F#m G F#m G

G D G D

D D

You make me new, Youme new, Youme new. You make are making are making me new. You make me new, Youme new, Youme new. You make are making are making me new.

(continue BRIDGE, overlay CHORUS lyrics) (continue BRIDGE, overlay CHORUS lyrics) VERSE 1:

RSE 1:

A/G D A/G D G
a rounda All round

G G

A/GG D A/G A/G D

D

(repeat BRIDGE and BRIDGE and fade) (repeat fade)

e is springing up springing old from this old ground; Hope is from this up ground;

A/G G

of chaosOut of being life is being life is chaos

7

D/F#Bm7 D/F# D A/G G A/G G
Found in you. you.

nd in

ight © 2010 worshiptogether.com Songs (ASCAP) (adm. by(ASCAP) (adm. by EMI CMG Publishing) Copyright © 2010 worshiptogether.com Songs EMI CMG Publishing) ghts Reserved. Used by permission. CCLI Song No. 5665521Song No. 5665521 All Rights Reserved. Used by permission. CCLI

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ReCORD RevieWS
ALM: uk “Name Above All Names” TRACKS (personal picks bolded) 1 Great And Glorious 2 God Is For Us 3 Be Glorified 4 Name Above All Names 5 Take My Life 6 Back To You 7 My God Reigns 8 Forever Be Praised 9 You Are 10 First Love Hi marks for a cd full of songs that focus on exalting the Lord. And though it’s in keeping with sounds often found in modern worship, they added an ethereal quality to an otherwise straight forward approach. Worship leaders Jonathan James, Matt Hooper and Mark Stevens set a great example for their peers; having a mature understanding of who God is while making your music inviting. One doesn’t have to substitute the other.

By Heidi Todd

en to the Lord in this cd and look forward of the church. One in particular would to some day worshiping God with the be “The Magic Hour”, making poignant the gathering together of the saints. It’s a ALM team live and in person. reminder of how sacred our time is as a congregation of believers. Andrew Peterson “Counting Stars” Andrew Peterson has a distinctly old TRACKS (personal picks bolded) school country vein – many of the songs 1 Many Roads sound like a train traveling down the 2 Dancing In The Minefields tracks. He’s relaxed but focused, so even 3 Planting Trees though the instrumentation is top notch, 4 The Magic Hour be sure to pay attention to the lyrics. You’ll 5 World Traveler be encouraged. 6 Isle Of Skye 7 God Of My Fathers Carlos Whittaker 8 Fool With A Fancy Guitar “Ragamuffin Soul” 9 In The Night TRACKS (personal picks bolded) 10 You Came So Close 1 Rain It Down 11 The Last Frontier 2 Can’t Start This Fight 12 The Reckoning (How Long) The first time I had 3 God Of Second Chances ever heard of An- 4 We Will Worship You drew Peterson was 5 No Words when my sister in Ari- 6 Because Of You zona read some of 7 Shine On his lyrics to me over 8 Grace Already Won the phone. And not 9 Jesus Saves Their band is great and the album is surprisingly, we were 10 In Your Presence mixed well. Everything is clear but sounds real, not over-processed. The instruments both in tears before she got done with 11 Your Name are carefully balanced – and whoever one song. Even so, the first time I fully ap- 12 We Will Dance Carlos, a votheir drummer is, hits hard and isn’t shy. preciated Andrew was when I saw him cational worship in person. He was on a cd-release tour Cool. leader, blends his for his last album and was playing shows experience as a Regarding their approach, it’s com- free of charge in little venues all over the seasoned leader pletely appropriate for where we find place. My sister actually flew up from with his pursuit for a ourselves in worship history – they are on Phoenix to join her best friend and me in new song. Although the forefront of a higher focus. Their lyrics Portland, OR for a concert in an intimately the arrangements inacknowledge that they are coming from sized church. He brought along a friend a flawed human experience, but where and musician from Nashville and the two clude some superfluous effects and trend they dwell, is in the areas where God of them had all of us packed into that little toward a digital sound, the songs will is “other than”. It is on Him that we rely chapel, totally spellbound. And at times translate well into a church setting. and in Him that we place our hope so it’s during the concert, men and women Worship writers have a difficult balfitting how they have kept that in focus alike, of all ages, were either laughing ance to strike; writing lyrics of interest and out loud or sobbing. when writing their songs. originality while still remaining relatable His voice is clear and pure, but isn’t to a wide range of participants. Carlos There is definitely a youth strain in this album, but not at the expense of sound what necessarily captures you; it’s the has found his balance and it’s evident that lyrics. You can see how many of the words. And it’s the way the music girds he’s concerned with being authentic and tracks will become anthems for a young up what he’s trying to say without compet- inclusive at the same time. generation of worshipers. And for those ing. Andrew is an avid reader, of the BiI believe people will be hearing and of us slightly more seasoned (smile) their ble and of good literature of all kinds. He is a studied individual, which accounts for singing his songs with greater and greater songs will be our songs too. the wealth he has to draw from lyrically. frequency as his exposure broadens. His ability to build a song lyrically and instruI found it difficult to narrow down only While most of the songs on this cd mentally keeps his album interesting while two personal picks, which is the number I try to stay true to on reviews for equity’s aren’t congregationally-friendly, you may still leaving room for a worship band to sake. I appreciate the obviously personal be able to adapt a chorus here and there make it their own. Worship leaders will expression of adoration and respect giv- to get these lyric-rich songs in the hands greatly appreciate the flexibility to include his songs whether they have a full band Overall impression with a strings section or are leading solo Average person could learn/participate on the first hear with one instrument.
Can be learned/adapted by a band of average skill Lyrical creativity and integrity

ALM: uk “Name Above All Names” Andrew Peterson “Counting Stars” Carlos Whittaker “Ragamuffin Soul” Hillsong Live “A Beautiful Exchange” John Mark McMillan “The Medicine” Yancy “Rock-n-Happy Heart”
highest marks

The lower marks in the first category are not because of the heart or intent behind the lyrics. They are only because I put such a premium on thought-through, original words without excessive repetition. However – to argue against myself – often times what we feel as a result of the power of God is “Jesus loves me this I know”. Simple doesn’t mean it lacks integrity just as complicated doesn’t mean it’s of higher quality. It’s a preference thing.
Continued on page 32

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ReCORD RevieWS
“In Your Presence” captures, poignantly, the power of God’s presence in a worship setting. Carlos, if you ever read this, please know I regard you highly as a leader and it’s clear that you are no stranger to the presence and power of Jesus. I look forward to more in the future. Hillsong Live “A Beautiful Exchange” TRACKS (personal picks bolded) 1 Our God Is Love 2 Open My Eyes 3 Forever Reign 4 The One Who Saves 5 Like Incense/Sometimes By Step 6 Greatness Of Our God 7 The Father’s Heart 8 You 9 Love Like Fire 10 Believe 11 Beautiful Exchange 12 Thank You 13 Forever Reign (Radio Version) With hundreds of songs under their belts, spanning decades, it makes you wonder – when are these guys ever going to slow down? Not likely. They’ve done a great job remaining relevant over the years. And regardless of your personal music preference, they’ve earned their props once again. Having long appreciated their willingness to platform multiple worshiper leaders, the variety of voices on this cd is great. They are distinct from each other, each bringing their own story to the table. 3 4 5 6 7 8 What can become wearisome is the 9 seemingly irresistible urge Hillsong writers 10 have to build and swell each song. It’s 11 rare that a song that starts with a sense 12 of lingering ever stays that way for long. 13 A song on an earlier release “Found” is 14 a rare exception and I find myself looking for that again. Skeleton Bones Carbon Ribs Dress Us Up Death In His Grave Belly Of The Lion Philadelphia Out Of The Ground Ten Thousand Carolina Tide My Only Between The Cracks How He Loves (Single) Do not be fooled by the lower marks in the second and third What used to be the signature sound category – while for the Hillsong United band, has become this is not a church the new norm for Hillsong worship as they congregation “singhave embraced the necessary evolution a-long” cd, the qualof their creative efforts. They are prolific ity is unquestionable. and a shining example of their genre. Where do I start? Big thanks to a legendary worship team. “A Beautiful Exchange” is sure to continue Hillsong’s legacy of capturing and inspiring worshipers and writers around the globe. John Mark McMillan “The Medicine” TRACKS (personal picks bolded) 1 Reckoning Day 2 The Medicine First of all, John’s voice is unique and natural. He sings like breathing – effortless but right on point. Even though there are 14 tracks on this release, it stayed fresh throughout. The style of music is consistent, but each song is an individual thought. Second of all, there is plenty of interest in the instrumentation. That is, in part, why my guess is that the average musi-

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By Heidi Todd cian isn’t going to be able to mimic it or adapt it without losing some of the integrity of the songs. I don’t think a cd like this is meant to be duplicated, rather, interpreted. The majority of the songs would illustrate a sermon, series or communion beautifully. Which leads me to the third thing; lyrical quality. This is true story telling, both of a walk in faith and a walk in humanity, which is why in part, these make great “featured” songs in a church service more than a congregational sing. This cd is very personal; if you were ever to shake hands with John, you might feel like you already know him to some degree. Many times while listening, I imagined he and his band sitting around in an old southern roadside gas station/ café with a rusty soda machine outside, just playing for the sheer enjoyment of it. Did I mention I liked the cd? I think you will too. Yancy “Rock-n-Happy Heart” TRACKS (personal picks bolded) 1 Super Start 2 One Of A Kind 3 Shout! 4 My Savior My God 5 Paid In Full 6 I’m Really Happy 7 Always Be 8 Dreams Will Come True 9 I Can’t Stop 10 With All My Heart 11 It’s Not New 12 No Other Name Bonus Songs 13 Paid In Full Remix 14 Shout! Remix 15 Dreams Will Come True Remix “Rock-n-Happy Heart” is a fun kids’ album and is being rated on the basis of how it will translate to a young audience. Yancy made a crisp light-hearted album full of songs that are sure to be favorites of many a tween the world ‘round. And you can easily imagine little kids jumping up and down and sing/screaming the words right along with her. As a parent, I appreciate any artist who helps kids know that joy in worship is not only appropriate but essential. silly, joyous side. But in case you’re envisioning bubblegum monotony, not so of Yancy. She has incorporated a bit of an edge with gritty guitar tones and plenty of rhythm. In addition to the driving, let’s jump around together songs, she includes ballads and even a hymn. Parents can appreciative the fact that the driving force of this album is what’s true about God. She utilizes her music to teach and reinforce hope in Christ – not only that we should hope in Him, but in which ways and circumstances we can count on Him to be more than enough. While my kids are probably too old to add this release to their iPods, it’s a sensible purchase for kids in their early teens or younger. She has also created a kidfriendly devotional that is worth checking out. Good going Yancy.

Heidi’s background is primarily in worship ministry, joining her first team at age twelve. She’s been a part of the Puyallup Foursquare staff since 2001, with an emphasis on team building and live production. She enjoys and makes time for the ongoing learning process as well as preAs an adult listener, you can’t take senting and speaking. You can email her at brentnheidi@ yourself too seriously when you’re en- yahoo.com. joying music like this; it’s ideal for your

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FOH eNGiNeeR
the switch, then it mutes output 1 and sends audio only out output 2. We setup output 2 to only route to the monitor system and not the house.

By John Mills

Talk Back

Follow the wires and look at the house faders This article is going to throw out some and aux sends to undercool tricks for “talk back” setups with ear stand just what I’m talkmonitor systems. ing about. Take special notice of Aux 2’s setWhat is a “talk back”. tings. Instead of taking Simply, it is a microphone the sound the input to your monitor guy uses to talk to the band. It is very system from the Direct Out of the worship useful during sound check to clarify their leader’s channel strip, we’ve used an aux needs. It is also useful during a service send. This way the personal mixer will where we need to get a message to the only need 1 input for the lead vocal, the worship leader. We can just wait for a leader’s “talk back”, and our “talk back”. pause in the music and say something like, “Excuse me, but the pastor just called This system adds the ability for the worme from his cell phone, and apparently ship leader to give messages to the band he is locked in the restroom. I think you that the congregation does not hear. should do another song or two while we sort this out.” The really cool, secret “talk back” to EVERYONE setup. So up to this point we How do they work? have the ability to talk to the band and/ The straight-ahead “talk back”. or worship leader with our mic, the worSome consoles have a mic built in with ship leader can talk to the band, but how a few buttons that enable you to talk to can he get us a message at FOH. We certain aux mixes. This is often the sim- could just solo his channel and listen on plest and best approach. I’d much rather our headphones, but sometimes we’ve use a channel strip to setup my own talk- missed the message by the time we get back. Just plug a mic (a cheap one with a our headphones on. switch works and is more than adequate) into the last channel on the board. Do not But what if we could also add a way assign it to the main speakers. Only route for him to step away from his main mic it to the ear monitors or personal moni- and still talk to the band & us. This setup tor systems. This approach is a little more should be pretty self-explanatory if you diversatile than most “built in” systems. The gested the last one. Take a look at figure only downfall of this setup is that there is 2, we’ve got basically the same setup no way for the leader to respond to us as figure 1, only this time we added a without the congregation hearing him. wireless lapel on the worship leader, and instead of using a Panic Button we are using a Power Mute (also by ProCo). One thing to note about the Power Mute is that it is capable of a bunch of different options. Consult the manual and set it up so that it is in push-to-talk mode. That is, it only turns on the mic when the footswitch is held down. It mutes again when your foot is taken off. In this setup the worship leader is free to step back away from his vocal mic, and “talk into the air” so to speak. When he does that, he hits the Power Mute and we can hear him through the monitor routing we setup earlier. The simple “talk back” to the BAND setup. (see figure 1) In this setup we route the worship leader’s mic through a little box called the Panic Button (by www.ProCoSound.com). This box has 1 input and 2 outputs. Think of it like a Y cable with a toggle switch for each output. Output 1 will be sent to the house speakers via a channel on the console until you step on Now check out the the little powered monitor in the bottom right corner of figure 2. For it to be unobtrusive try to locate it somewhere near your ear at FOH. I’ve had good success setting mine on the rack just to my right, which happens to be just about ear level. I don’t have to run it very loud at all. The little monitor gets it input from the direct-out of the channel with the worship leader’s “talk back”.

The key to these setups are the little foot switches. You could just wire a few XLRs to a switch but you’ll most likely get a pop every time the switch is clicked. The way these boxes work is by inserting a 40db pad on the output. In effect it just turns down an output instead of unplugging it. On another note, the worship leader is not necessarily the one who needs this system. We could dedicate one of these systems to, say, the keyboard player. It could then be their job to take cues from the worship leader, and relay them to the band, FOH engineer, and video department. Tip: Make sure to spend a good deal of time during sound check getting this up and calibrated. For those musicians listening to the “talk back” aux send remember that it is silent until “talk back” is pressed. So, from their perspective they might all of a sudden hear the voice of whoever is talking at an unreasonable volume in their ear monitors. I think you can see, with a little thought, there are some pretty neat ways we can open up communication to and from the stage. A team that can communicate gives a lot of freedom for the worship leader to actually lead instead of feeling constrained to the program. Till next month, John John is an 18-year veteran of the road. He was a frustrated Electrical Engineer who hated college. Left school to pursue a career on the road as a drummer, ended up as a sound engineer, and after being blessed to work for many of the top level Christian worship leaders including Chris Tomlin, Lincoln Brewster, Shane and Shane, Paul Baloche, and many more, has landed at a job as an audio engineer for a design firm. He says, “I guess Mom was right, she always knew I’d finally got a real job.” Check out www.EliteMultimedia. com and www.TechTraining101.com for more about what John is up to.

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JULY/AUGUST 2010 WORSHIPMUSICIANMAGAZINE.COM

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MiNiSTRY + ARTiSTRY = PROFiTABiLiTY? CReATiNG YOUR MAP™

By Scott A. Shuford

Fan Development

ist who has a church base to start from. Disclaimer: I’m not a label-hater. The labels and distribution systems can provide artists with great value. Quality production, radio servicing and tour support are Welcome to the second of a multi-part things most artists either can’t or don’t do series on marketing for worship leaders. well. I’m prayerfully excited about this dialogue with you in the hope that God will bring Fan Development us together to help extend your reach in As artists, we need to stop thinking worship music and the arts. about how to sell our CDs. Instead we need to think about how to develop fans. In the last issue, we talked about one of Isn’t that what you’ve wanted to do all the most frequently asked questions I hear: along? Don’t you want to write and play “How do I make it in the music industry?” music that connects people to God? We I’ve heard that question stated in many are leading people in worship. Leading different ways, but the common thread is requires relationship, so the real question about making ends meet. For me, that is becomes “How many ways can I have M + A = P which is the MAP™ I think I relationship with my audience?” have for you. Can Ministry + Artistry = Profitability? Absolutely. Last time we Imagine if you had 1000 fans that over talked about your mission. Now let’s talk the course of one year spent $100 with about Fan Development. you or donated $100 to your ministry? I bet you could work with a $100,000 anPower Shift nual budget! Start thinking about all the There has been a massive power and things you can offer your fans, then think opportunity shift within the music industry. I about which of them you can monetize. know you’ve seen it. The CD is breathing A big part of your relationship in Fan Deits last gasps. Billboard Magazine’s Sales velopment will be free offerings that pour Charts are topped by albums selling tens into your fans. Devotionals, encourageof thousands of albums in a week, not ment, teaching, leading at your church, hundreds of thousands. Music labels are leading in your city: all great. You may in a tail spin, working hard to figure out decide that giving away your music is how to survive. And yet, music consump- part of your Fan Development. Instead tion has not decreased, it has most likely of selling an average 10-12 song CD, increased. Unfortunately for those of us maybe you give away your top 5 songs, who like albums, the industry’s tendency but sell an enhanced CD and download to put out 10 mediocre songs along with 2 great ones finally came back to haunt them. When the digital age provided consumers with a way around paying as much as $16.99 for a CD, they did. There is a whole generation of consumers who have never purchased a CD. CDs won’t completely die, but you can expect Tune in Creator Worship Online Radio: them to become more like vinyl is today. Teaching & Training At the same time, MySpace paved the Hear it today… Use it tomorrow. way for Twitter, YouTube and Facebook to give artists the one thing they didn’t Programming includes: have before: direct contact with their consumers. One of the my most profound Worship Musician Magazine disappointments in our industry is seeing WorshipTeamTraining.com the great artists of the Jesus Music movement come out the other end of the label Tom Jackson and distribution systems having very little News from HearItFirst.com or even zero idea who bought all those Rick Muchow (Saddleback Church) records, tapes and CDs. They have next Indie Extreme to no direct connection to their own fanTech Talk with Wade Odum base. NewReleaseTuesday.com and more… Where the label and distribution sysTwitter: @CLNetwork tems have lost power through declining sales and retail outlets, artists and artFacebook.com/CLNetwork ist managers have gained tremendous Tune in now at www. power to reach out and harvest their own CreatorWorship.com fans. This has created exponential growth for any artist, especially a worship art-

stick with more songs or more content? Look at your lyrics. What is really impacting your audience? Can that message be put on t-shirts, bracelets, art on a wall, temporary tattoos, anything else that allows fans to both remember and evangelize that message? Would they benefit from time spent with you through a VIP buy in of some kind? Think outside the CD case and let me know what you come up with. First we talked about mission. Now we’ve talked about Fan Development. Next time we’ll talk about why you should seriously considering being a nonprofit organization rather than a business. Email me your comments or questions to Scott@CreatorLeadershipNetwork.com. Scott has led classes for us at NAMM and the Christian Musician Summit. He was recently featured in Adweek and is the CEO of FrontGate Media, the #1 pop-culture media group reaching the Christian audience (www.FrontGateMedia.com) and is the co-founder of Creator Worship: online radio for worship leaders (www.CreatorWorship.com).

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AUTHeNTiC WORSHiP

By Michael Gonzales

What if I Have No More Bullets?
I have shared this story before when I have spoken in public, but I remember a time w h e n my dad was serving in the U.S. Army, 7th Cavalry in Korea. He told me of a time when this platoon was ordered to hold their position at the base of a hill. After days of being embedded, the young lieutenant receives an order to take the hill. The problem is, they are understaffed and low on ammunition. But an order is an order, so the brave leader takes out his revolver and yells out, “Let’s take that hill!” The men, already exhausted from fighting and having low morale, are not inclined to move except for one. A soldier bends down and begins searching for something. His buddy asks him, “What are you looking for?” Knowing that he is low on ammo, the first soldier replies, “I’m looking for rocks. Just gimme a rock and I’ll kill ‘em.” These days in some churches, it might be rare to find a worship leader, or some staff people, willing to have that kind of attitude. I know someone in Southern California who would have a fit if he was asked to step out of his comfort zone. He might protest, “I wasn’t hired to lead worship in kid’s church. What happened to Bobby? Why can’t he do it?” Many worship leaders are effective in their ministries but some worship leaders have an attitude as if they are the talent on an ocean cruise line. “Don’t tell me what to do; I have a routine. I’ve been working this for four years now and I have a system.” But what happens when the system breaks down, or there are changes we all must face? The notion of flexibility seems less of an alternative. Even worse, what happens when we’ve put out everything we’ve got, only to realize we cannot put anymore? “I’m out of bullets.” is no one there. Let your worship team be your backbone. Don’t let a Levitical High Priest attitude fool you. If you think you are better than anyone else on your worship team, that attitude will come through loud and clear and when you need help, no one will be there to support you. Let’s face it, no matter how talented you are, you are still a sinner saved by grace. It is better to walk in humility in Christian service rather than live a life of pleasure and egocentric satisfaction. Having an attitude of, “That’s beneath me,” doesn’t help anybody.

People talk about a downturn in the economy, and those changes affect every facet of our lives – including the mechanisms in place for worship. It may mean doubling up jobs as church staffers are laid off. It may mean cutting one service instead of having two or more Sunday services. It may mean not being able to pay for a worship leader’s full-time staff Realize that what you were called for position or cutting down to a part-time requires you to sometimes be the medic. role. Remember those documentaries or dramatic movies where a soldier is calming Let me suggest some things to help you down a wounded buddy and he cries work through times when, for whatever out, “Medic!” Be on call. Know that part reason, you are out of bullets. of your purpose is not just to lead in music but The main thing is to be teachable. You to serve as have a gift, but you are also under ora minister. ders. When you are told, “Change The minof plans,” be flexible. Have a istry deChrist-like attitude. Be gramands cious. This is not the time for of our you to send out an e-blast to ability your fellow staffers of how to step cruelly you have been out of treated. Remember, the com“ministry” is not about p l a you. cency a n d Don’t go to the dark into acside. “I am not worthy.” tion. Doubting yourself is not a good solution. Just because Finally, you are in a season of speed use the subumps doesn’t mean you need pernatural to get off the bus. What hapstrength that pened to your conviction and all God’s Holy the sacrifices that led up to finally Spirit has regetting those great worship leadserved for you. ing opportunities? Are you now That will make you questioning God as well? a mighty warrior, not because of anything If a request from a Senior or Execuyou have but because you tive Pastor seems unreasonable, there are willing to do whatever it is nothing wrong with bringing up your takes to serve Christ—even if it concerns. means picking up rocks. Another thing you can do to protect yourself is to get your worship team beMichael Gonzales, Ph.D. hind you. The worst thing that can hap- Professor, Biola University pen is when you encounter a problem, mike.gonzales@biola.edu and you take out your pistol and yell, “Let’s take that hill,” you turn around and there

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JULY/AUGUST 2010 WORSHIPMUSICIANMAGAZINE.COM

GUiTAR

By Doug Doppler

From Good to Great in Ten EASY Steps…
Thought that might catch your attention! I think that many guitar players would confuse technique for playing well, and IMHO the two are often mutually exclusive. Whether you’re looking for some new ideas, or just plain stuck in a rut, the following are the best possible ten suggestions I could come up for making you a GREAT guitar player for your team... Before Rehearsal 1) Learn with your ears, not your fingers We all know that life and extra practice time are vying for our attention. The best musicians I know learn a song with their ears, not their fingers. The more time you can dedicate to listening to a song (iPod, iTunes, CD) before you get to rehearsal, the more natural it will feel as you go to play the parts. 2) The chords, nothing but the chords Not all teams are great at getting the music out to the team, so in a pinch a chart can be a great tool in prepping for rehearsal. If you don’t know the song, simply play through the chords, one beat per chord. Think of it like musical Google Maps – you may not have been there yet, but at least you’ll have a road map in place. This process is also great for revealing any challenging transitions before you get to rehearsal. mistake, circle that spot on the chart, and then make a note on the set list, and you will make WAY fewer mistakes. When 3) Contrast is key people hear you making fewer mistakes As you’re on your way to rehearsal, they’ll presume you’re getting better – bestart to think about how the rest of the cause you are! team will be inclined to play the piece and make some decisions beforehand 8) Tempo and dynamics about what patches and sounds you are Rehearsal is also where you can regoing to use. Playing it just like the re- ally focus on developing great dynamics. cord is not always appropriate, but can When I’m learning a new song I’ll mark serve as a great benchmark. Increasingly, up the chart with a number from one to I’m hearing worship teams take liberties ten indicating how quiet or loud that secwith the original parts, so don’t be afraid tion should be. Once you’ve done that, to make something easier if you need you’ll probably find that most worship to. People would much rather hear you teams have a tendency to drag on the play an easier part well than a tough one lower dynamic parts, and speed up on poorly. the higher ones. Another key benefit of consistent band dynamics is that your voAt Rehearsal calist will love the fact that they don’t have 4) Come early, stay late to strain their voices trying to be heard My favorite musicians are the first to ar- over the band. rive and the last to leave. A worship team really benefits through fellowship, and Sunday Morning rehearsal is the perfect place for that. It’s 9) The earlybird catches the word also a great time to help the vocalists set Most teams rehearse just before the first up their mics, in addition to getting your service, so this is another great time to own gear ready for the downbeat. Once show up early to help others, get in tune, rehearsal has finished, help others with and have a last minute chance to go over their gear – on a Sunday when you’re your notes before rehearsal starts. The late getting to Church the dividends can notes do a tremendous amount to help be VERY worthwhile! you be a better support to those around you, and this is one area where we can 5) Line of fire all really serve one another. By making Ever stand in the crosswalk and have a few notes on the set list, at a glance I someone blow their horn at you? That’s can remember the few things I’m inclined how vocalists feel when you point your to otherwise forget. Sometimes I’ll even amp at them. If you can, get your ear at put the first chord of a new song – just in speaker level and make sure you know case! When we play our parts more acwhat the people in your line of fire are ex- curately, it does a lot to drive a continuity periencing. This is a HUGE blind spot for in the arrangement as well. way so many guitar players. I’ve gotten the best use out of amps stands with wor- 10) Play it again ship teams – they really make for a much If at all possible record the service so more positive experience for everyone. you can learn from your successes and your challenges. Take notes on where you 6) Don’t noodle made mistakes and/or could make imWhen vocalists are trying to find their provements. You’ll be amazed at how will parts would you pick up your cell phone the process can work to take a good guiand start having a loud conversation – tar player and make them into a GREAT didn’t think so. What a lot of guitar play- worship musician. God Bless!!! ers don’t realize is that vocalists often have to hear their notes before they can Doug Doppler tours the sing them. Give them the room to do that, and you will earn MAJOR points on the world as an instrumentalist, has played on two Guitar musicianship board! Hero video games, and along with his wife Melissa 7) Bring a pencil and make notes I cannot say it enough times - most works to help worship teams develop musicians make the same mistakes over their gifts for the glory of God. and over. If you notice where you make a

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JULY/AUGUST 2010 WORSHIPMUSICIANMAGAZINE.COM

The 19th Annual

Seattle-Tacoma Guitar Show 2010
Guitars Mandolins Lap Steels Amps • Ukes Banjos • Pedals

BU Y SWA P SE LL

9:30 am - 4:30 pm

Sunday Sept. 19th

Vintage Used New

Kent Commons
Directions call 253.856.5025
Admission $700 Enlarged Exhibit Area On-site Food and Drinks Exhibit Tables $5500 each Free Workshops and Clinics

525 4th Avenue North Kent, WA 98032

For information or booth reservations call 253.445.1973
The Seattle-Tacoma Guitar Show 4227 S. Meridian PMB C-275 Puyallup, WA 98373 bruceadolph@mac.com

www.seatacguitarshow.com

THe BAND
By Tom Lane

Aim For Glory!
This has been a year already full of reminders that life is a short stop on the way home. This week we lost another friend and pioneer of Christian Music, Dana Key. The group Degarmo and Key helped define the genre of Contemporary Christian Music. Dana was a great player, singer, and was still serving faithfully as a Pastor. I met Dana in 1983, as I packed up my Monte Carlo and set sail from Florida to Tennessee (likely listening to a “Cassette” of D&K), arriving in Nashville as an extremely passionate and driven seventeen-year-old. There are a good many people I’ve known on my 27-year journey here who now know the glory of heaven and being with The Lord. Death is a part of living but only the beginning of Forever! It helps bring life into better focus and reminds us hopefully of what living is all about. For a young and zealous Muso, life was all about making my music and living the dream. I drove up and down Music Row in my late teens and had it all mapped out. Then life happened! Here’s my little summary of the road well graveled! For most musicians I know in Nashville, the road started out as an allconsuming quest fueled by an insatiable desire to play and create, which led to a thought: I might actually be able to do this for a living. Which led to a roadway that nobody expects to be as littered with pain and reality as it truly is. Because: most won’t be able to make a living making music, and if you’re not grounded in who you are to start with, the person you can become in the process is someone you may have never wanted to be. Our town is full of disappointed and unfulfilled creative people. It’s illusive and dangerous when who we are depends on how well we do according to the industry’s or some other’s standards. well-known actor who was asked about how great her life must be and she commented, “Yes, it’s great, but I can’t feel it!” If our issues, sins, pains, addictions, etc. drive us, then we’ll drive ourselves crazy. No matter how great life may be, we won’t feel it either and the bad will overshadow the good. I spent years one season in a deep depression, not even knowing it, and was trying to give out and minister the whole time. You can do it only so long, and then you run out of steam completely. In my case, a divorce and heart attack stopped me dead in my tracks. I lost some good time along the way, but thankfully we serve a redemptive God. I’m now remarried to my wife, which is a whole other miraculous story in itself! He turns our mourning into dancing without a doubt. None of this is to make you feel worse about anything you deal with, I promise! Let’s make our music, be free and creative as God made us to be, but pay close attention to the condition of our lives and well being. We cannot sustain or keep up in our own strength alone. And unless we able to contain the wine God desires to pour into our wineskin, we’ll bust eventually. We need to be made new every second of every day. That’s why Paul made such a deal of choosing to walk in the Spirit. It’s not a one-time thing – we have to choose it constantly.

A number of artists have reached the top, but those who stand out as exceptional are those who’ve managed to keep their lives, marriages, and families intact. Let us aim for Glory! God intends for We spend a fair amount of words talking about how to do music and ministry; His glory to shine through our lives. How there’s a seminar a minute for everything. we serve one another, what we choose But I’d like to say a bit about the impor- to chase, and how we live behind the tance of maintaining life well! Not be- scenes determines whether or not His glocause I’m an expert, but because my own ry can and does shine. The good news road is paved with lots of hard lessons. is you don’t have to be anyone but you; When I got to Nashville, I knew how to God is very cool with you as you are play and sing, but what I was pretty clue- already! We’re going backwards when less about was real integrity – not only we try to dress up and become someone “doing what you say” kind of integrity, we’re not. Glory shines best through aubut personal boundaries and character thenticity, purity, humility, and brokenness. where it really counts. Choices I made If we want our talents and gifts to be early on affected me years later; it all used to the fullest, then we have to deal adds up. What I’ve found is, God will let with our hearts first. you run your path and even think you’re doing it for all the right reasons, only to Nashville, TN is home wake up one day and be way off course. Notoriety and success can’t give you a for Tom Lane though he is involved in ministry and muministry; a steady and faithful walk will! sic around the world. As What good is it really to gain the a singer, songwriter and Dana Key — 1953 - 2010 world and lose the soul? What impact guitar player, Tom has been teamed with do we have really if people know our many worship leaders and artists. He names and music but our lives are so full continues to record his own work, lead of holes that we live opposite the way we worship, and writes regularly for various are called to? I read an interview with a worship publications worldwide.

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JULY/AUGUST 2010 WORSHIPMUSICIANMAGAZINE.COM

BREAKING THE RULES... AGAIN!
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Product Review Continued from page 8 editor’s Corner Continued from page 7 “Baby Names” book and picked “Bruce” be- they both sounded so good! Time flies when you cause she did not know one person at the time are having fun! named Bruce. This also tells me that she only Because these amps can get LOUD, you read as far in the alphabetically arranged book might consider engaging the Notch filter and lowering the bass a little to prevent feedback. I had fun experimenting with different EFX, although I ultimately went for the traditional light verb. Because of the XLR outs, these amps don’t require a separate direct box, and sound really nice through a large venue PA. I love having this amp leaned back at me as a monitor. I also like being able to dial in just the amount of EFX that sound good to me – no offence to the FOH (Front of House) engineer. to the “B” section; but at least she got through most of the “B’s” (thanks Mom, you know I love you). The naming must not of made it to the hospital staff however as to this day my birth certificate reads Boy Adolph… just my gender for a first name. Which is really ironic when you consider that in the Tarzan movies, Tarzan’s only son was named Boy. Why I am telling you this much family history? I guess to illustrate this walk of faith that we all are on. While faith is a gift of the Holy Spirit, we can choose to be active or not in our faith. We can choose to allow faith to permeate our words and actions; to encourage us in times where nothing else can. No safety net can replace faith. In fact if we always walk around saying, “Don’t worry, if this doesn’t work out you can always trust in this, that or the other” instead of really putting our faith and trust in Him, then we really aren’t walking in faith are we? We would be hoping for God to come through but all the while planning our exit strategy if he doesn’t. Is that the kind of faith I have been harboring? How bout you? Finally, just for fun, I tried a 72 Telecaster, just because it was sitting there. The Tele actually sounded beautiful – clean, with tons of headroom. These amps would be ideal for a jazz gig. I don’t know that they are going for that market, but I would grab this amp over any of my vintage Fender amps in a minute! Again, very versatile. The Pro 250 is perfect for a small gathering or coffee house, and has the power to handle both a singer as well as an acoustic guitar. The PRO 250 especially with 2 separate EFX units is really cool if you are plugging in a guitar and vocal mic. The DS4 is also a great option, if less weight is needed. If tone is as important to you like it is me, you will appreciate the HI-FI natural sound these amps deliver. The mic channel sounds like a nice small PA too. It is very clean and eq’s much better than what you might imagine. It’s NOT cheesy sounding at all! Ultrasound has really done their homework with their products. They are well thought out and well constructed, and they sound amazing. They aren’t the cheapest out there, but are well worth the extra cost. And yes… I approve this message! Blessings!

Wish list: • Cooler lettering fonts on the control panel. • Better label for EFX • Tilt legs for PRO 250 to lean back further (like old Fender Super Reverb) I’m not pitch- • Somewhere to store the AC cord ing you the notion List Price UltraSound Pro 250 $1,399.00 to be reckless or thoughtless about DS4 $599.00 things… the Lord Website: www.ultrasoundamps.com gives us wisdom and common sense can protect us. But Michael is Gabriel’s dad. He just between you, me and the fence and his wife Carrie lead worship post… who are together internationally. He prowe trusting in? The duces, does studio work & serves living God or the at Lakewood Church in Houston safety nets we have put in place? In His Grip! Bruce & Judy

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JULY/AUGUST 2010 WORSHIPMUSICIANMAGAZINE.COM

PRODUCT RevieW

By Mitch Bohannon

Interactive Worship Live
www.interactiveworshiplive.com
There are great products and resources out there that help and encourage worship musicians to improve their craft. The magazine you’re reading is consistently one of the best; if you’re not making this available to each member of your team, you’re missing a blessing!. My friends and fellow CMS presenters, Sandy Hoffman and Tom Lane, write articles directed to the team as a whole: “Tips for Tight to the congregation and more of the glory goes to God! We know that rehearsing with a metronome makes for better musicians; even more so, a band playing with a metronome makes for a tighter band! It’s becoming more and more popular on worship platforms to play with a “click,” i.e., a metronome. For obvious reasons, in-ear monitors are required to do this; at a minimum, the drummer needs in-ear monitors! I have been on a quest for the past year to implement the “click” with my team. I have tried and contemplated a variety of ideas, and then I heard about a company called “Interactive Worship Live” [IWL] which provides original master recordings in a multitrack format for use in Ableton Live (a music software program). I am very impressed with the capabilities and potential of IWL.

the platform, Ableton provides a metronome and accompanies the band. Pretty simple! For more detail, keep reading. The songs that are downloaded are the exact songs track-by-track that the artists recorded, including their click-track. For example, the first song I downloaded was “My Savior Lives” by New Life Worship. I received all the guitars, all the keys, all the drums and percussion, all the BGV’s, etc. – just no lead vocal. Once the song is imported into Ableton Live, I can mute any track I don’t need, i.e. instruments I have playing live, and use the remaining tracks as “enhancements.” I run Ableton Live on an iMac on stage, which is connected to an audio interface; I’m using the Sapphire 6 from Focusrite. From Ableton, I send the click and enhancements directly to the band’s in-ear monitors, and just the enhancement tracks to the FOH (Front of House). We used “My Savior Lives” for our Easter service and it went great! The band was locked together with the click track; for “enhancements,” we kept the rhythm electric guitars while I played acoustic and another member played lead. I also kept some of the keyboard layers to accompany my keyboard player and even kept the BGV’s since we are using a worship choir. These “enhancements” really filled out our band! If you have an incomplete band – for example, you’re without a drummer or bass player – keeping those IWL tracks open could fill the need! Or maybe you’re a ‘crusader’ worship leader going at it alone; using tracks from IWL would give you a full band instantly! As I mentioned, IWL multi-tracks thru Ableton can provide live flexibility; Sunday song services can be easily set up so that multiple songs can be arranged in series. Each song begins at the push of a computer key or (midi) button, whether controlled by a midi keyboard or even foot pedal. A very cool feature is that chorus/section repeats can be set up to be available on the fly so that your worship can still flow freely and not feel “canned.” I would say that the average worship band from adult to youth could benefit and grow using songs from IWL. I plan to continue adding songs to my library with IWL; we are currently working on three more that we’re looking forward to using with our congregation. Mitch Bohannon is the Worship Pastor at First Baptist Church in Dayton, TX. He helped develop the Short Cut Capo for Kyser Musical Products. Mitch and his wife, Noelle, have the three most awesome kids in the world!

In the old days – and for some, even currently – soloists would purchase song track CD’s from the Christian Bookstore and perform that song as “special music” in a church service; unless that soloist was singing in multiple churches, that purchase could be only used one time. IWL provides performance product, but one that is flexible to work with your worship team, and one that can be used many times throughout the year. I’ll try to make this as simple as possible, so here’s an overview Teams” and “The Band”, respectively. of how I use it. From IWL, songs are purThere are so many elements to tie togeth- chased and downloaded individually; er in order for our bands to get tighter. different pricing/grouping options are These elements are so important because, available. The songs are then imported the better we play, the fewer distractions into Ableton Live (you can download 30day trial of Ableton for free!); cued from

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JULY/AUGUST 2010 WORSHIPMUSICIANMAGAZINE.COM

CAMeRA

By Craig Kelly

So You Volunteered as a Camera Operator At Church – Uh Oh, Now What? Part 1
Ready to roll VT A… and roll VT A in 5, 4, 3, 2, roll A - 1… Up on A, track A… Watching camera five on a move… Coming live in 30 seconds… Camera five start your move on 2… Counting out to live in 5, 4, 3, 2, Start your move five – 1… Dissolve to camera five… Standby to cue the Pastor… Ready four on faces – take four… Standby to cue the pastor… Standby camera two on the pastor head to toe – one - pick him up tight… Cue the Pastor… Ready two, take two… Get him one, ready one, take one… Ready five with a move out. Take five and start your move… Standby one, dissolve to one… Ready four, take four… Ready two, take two… Ready one, take one… Standby graphics, music under… Watching graphics… key graphics over. VT A out take it to the next level. More than likely, • someone on your team will be able to help you to learn but ultimately it will be up to you to achieve that level by practice • and the desire for learning the craft. That being said… Industry knowledge – workshops, seminars, webcasts, magazines, classes, DVD’s Practice – focus, zooming, panning, tilting There are only four real tools that matter to a camera operator and directly affects you performance; Lens Pan Head Viewfinder Handle controls With all four of these items, learn the basics of how they work, make sure they’re adjusted well for your personal liking and that you know how they react; tight spots, bumps, c h a t t e r, soft focus spots, screen burns, softness in the corners, etc. Ask some of the more experienced operators how they like their setups and why. Next we’ll take a look at some additional tips to help you have a great experience on camera. 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 free-lance cameraman, he has shot national and local level sports and corporate video for over twenty years. These days he is often involved in speaking, workshops, writing and talking about Television camera operators and directing. He recently launched the blog ZoomIT.cam at craigjkelly.wordpress. com for new camera operators and has a training DVD in the works. You can reach Craig at craig@vantageroad.com

The duties of a television camera operator vary, depending on which type of camera you are operating; studio (long lens) crane or handheld. There are a few other specialty cameras too but we’ll just consider these three for now. The primary job is the same though – to get the best possible shot from the position you are assigned to for the director’s wishes. There is usually no room for error. No matter how great of a shot or how great your follow or focus capabilities are remember this; do not take it personally when the direcGreat open everyone. tor chooses a different shot than you think For a point of reference, that sequence they should. The director’s commands are was approximately one minute long and artistic, practical and primary… No matit was a typical show/service/event ter what the rest of the crew thinks. opening video sequence as heard on That being said, there are also a few the director’s intercom channel. In other words, that’s what you could reasonably practical insights to adhere to and a few expect to hear as a camera operator in items that will help you to be the best your church’s technical arts team – or any camera operator you can be. similar video production. Of course, your A camera operator is judged by a very church intercom chatter would be different according to the amount of cameras, small amount of skills and soft-skills. The size of crew, service script, director style, four primary skills in running a camera etc. One thing never changes though – are; it’s always a subjective opinion as to what Focus your service will look and sound like. Panning Titling If you’re reading this, you may have Zooming just signed your name to a list at the Worship Arts Team table on Volunteer Sunday Learn the difference and how to do and now you want to learn how to zoom like a rock star. If you don’t know the dif- them well without thinking which is which. ference between pan and tilt, this series It’s hard when you only get to work at of tips might help you focus on the subject these once a week but you need to find and zoom into a great source of excite- time to practice. If nothing else, arrive ment for you. It looks fun and it can be. early and stay late to practice if that’s The job is exciting, can be very creative, possible. has a lot of teamwork involved, can add In all of these areas, you can get more to the worship experience for many, can help to bring someone to the Lord that proficient if you; doesn’t have the opportunity to worship in any other way and can be extremely • Learn as many equipment functions as you can; location of switches, satisfying. But the job has a lot of elemenus, knobs, etc ments that need to be addressed and it takes a long time and a lot of practice to • Practice – focus, zooming, panning, tilting be proficient – but it can be done and every seasoned camera operator has had • Observe - Industry examples, watch and compare commercial content – to learn in the beginning of their career. TV, Film, stadiums, concerts You’ve been chosen to be a part of the technical arts team, now it’s up to you to

WORSHIPMUSICIANMAGAZINE.COM JULY/AUGUST 2010

47

GUeST ROOM

By Grant Norsworthy

Awesome” and Other Vanishing Words

band on a stage and words about God on a screen.

More devoted believers might go so far as to recognize that their private times of singing, praying, fasting, Bible study or perhaps even when they do something kind for someone in need, also qualify as worship. I am sure these are valid expressions of worship, but isn’t worship even more than that? Our lips show we have Imagine a classroom. I am an English is to direct people to the true and original little idea of completely surrendering our teacher and the students are in their seats, meaning of worship: The worship that is lives - being “living sacrifices, holy and acwaiting for the lesson to begin. Today I my life surrendered to ascribe worth to Je- ceptable to God…” letting that be our “… intend to teach the meaning of the word sus the Christ. [s]piritual act of worship.” (Romans 12:1) awesome. I begin the lesson with some casual banter. “Therefore, bothers and sisters, in view “A time is coming when you will worof God’s great mercy, offer yourself as a ship the Father neither on the mountain“It’s awesome you’re all here.” Ges- living sacrifice, holy and acceptable to top nor in the Temple. … Yet a time is turing to the striking footwear of one of God, and let that be your spiritual act of coming and has now come when the true the students, I exclaim, “Awesome boots worship.” (Romans 12:1) worshipers will worship the Father in spirit you’re wearing!” and truth.” (John 4:21 & 23) Nowhere in scripture is the word worThen, getting more serious I continue. ship used as an adjective - a describing As Jesus’ words reveal, we are now in “Today I want to teach you the real mean- word - as we most often use it. Neither the time when worship is not and must ing of the word awesome and it’s going can I find in the Bible where the word not be restricted to our times in a church to be awesome! Awesome is a word worship is used to define the act of pas- building nor contained within our mounwe use to describe something that fills us sionately singing songs to God or a meet- taintop experiences. Are we not teaching with a sense of awe. When something ing of believers. Yet, in the vast majority in opposition to these sacred words when overwhelms us with feelings of wonder, of occurrences, that is how we use the we hang a sign above the door saying reverence, respect and a touch of fear, it word: incorrectly educating those who “Worship Center” or have letters on our is awesome. Got it? Awesome. Have an hear us, and ourselves, with a misunder- street sign that say “Worship Service at awesome lunch break!” standing of worship. 9am and 11am”? If I step up to a microphone, guitar slung around my neck, This is a very BAD example of teach“No snowflake in an avalanche ever strum a chord and instruct the people by ing. It’s terrible, in fact! feels responsible.” Voltaire saying, “Let’s begin to worship!,” whether I realize it or not, I must concede that I I firmly believe we worship leaders You might be saying to yourself right have taught, “You were not worshiping and musicians are doing the same ter- now, “Oh, that’s just semantics. The word before now and you will stop when I finrible teaching with the way we misuse the worship can be used in a variety con- ish.” We have inadvertently taught that word worship: worship service, worship texts. It’s not a big deal.” Really? I believe worship does not happen at other times song, worship leader, worship center, we must acknowledge that the way we and in other places. worship band, worship experience, wor- speak is of utmost importance. ship pastor, worship… musician. Yes! Let’s keep singing songs of praise Whether we recognize it or not, our and adoration to God. Yes! Let’s gather The original meaning of the word awe- words change the way we think. And the together as a community of believers. Let’s some is all-but lost because of overuse way we think changes the way we live. do it more often, for longer and more pasand misuse in recent years. In the same We would do well to remember that, like sionately! But let this be the worship we way, the intended original and powerful the small rudder that steers a large ship, lead, teach and demonstrate: worship meaning of worship may be nearly lost my tongue steers me! (James 3:4-5) “The that doesn’t switch on and off but that to us too, but with immeasurably more mouth speaks what the heart is full of” is constant, ongoing and all pervading. dire consequences. And we are the ones (Matthew 12:34). And … Let’s lead and teach Romans 12:1 “livcreating much of the confusion. In fact, ing sacrifice” worship that is 24/7/365, we just might be the main reason why “If anyone would consider himself a and 366 on a leap year! This will not be the church is so confused about what it worshiper, yet does not keep a tight reign possible, however, as long as we misuse means to worship in Spirit and in truth! on his tongue, he deceives himself and the word worship to describe our on-offhis worship is worthless.” (James 1:26) on-off music and meetings. “True worship is to be so personally and hopelessly in love with God, that the We must measure our words more Formerly the bassist with idea of a transfer of affection never even carefully. Let’s start with WORSHIP! CCM bands such as pc3 remotely exists.” A.W. Tozer After all of our worship leadership, it is (Paul Colman Trio) and Grant Just a few hundred years ago, the word clear, by the way most Christians speak, SONICFLOOd, worship actually was stated as worth- that we wrongly believe that worship is Norsworthy is a Grammy® ship. It’s to whom or what I ascribe worth. when I sing songs to God, or perhaps it nominated and Dove Award winning True worth-ship of God is shown as I sur- is what happens when I meet with other musician and speaker. Originally from render my life: my pride, my selfishness, Christians - usually on a Sunday morning Australia, now based in Nashville TN, my willfulness, my rights to lead my own in a worship service. Many of us are unin- Grant is also an outspoken advocate for existence. Surely our highest hope as we tentionally educating a future generation Compassion International. For more inforteach and lead as worshipping musicians to believe that worship is when there’s a mation: www.grantnorsworthy.com

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FROM THe DRUMMeR’S PeRSPeCTive
Continued from page 10

etc. I try to hear a broad range of tone from the set. I especially choose crashes the have very different pitches but similar timbre or character. As the sounds fade I’ll listen carefully for an “odd” tone; a sound that just doesn’t seem to fit with the other cymbals. Sometimes you have to try a different crash, or splash, or even a ride cymbal. I know this is an art and it takes time to learn. Just be patient and you’ll get the hang of it. That’s why it’s probably a good idea to try cymbals from the same series when you first do this. But after a while you’ll be able to mix and match cymbals according to what your ears are hearing and not by what you’re seeing. Even with the best design and manufacturing processes, each cymbal is unique. The same models may be very close, but there are always subtle nuances that I think make each one an individual voice.

the bottom and the top of your cymbals. All of these elements affect the tone of your cymbals. Don’t tighten the wing nuts too much either. Crashes and splashes have to move freely to get the best tone. Ride cymbals can be a little tighter to control the tone if you’d like, but the general rule is to “let them breath.” Even the top hi-hat should be able to wiggle so the tone is not choked. It only needs to be tight enough to track properly with your foot action. The angle of your cymbals is also important. No matter what height you place your cymbals, angle them to point toward your chest. This will line them up with the motion of your arms and wrists. When crashing your cymbals, use a “slicing” stroke. Do not hit straight on the edge of your cymbals. They will not hold up under that kind of stress.

ing method. I use to take my ride and two crash cymbals with me to test the new one along side them. Now my ears can pretty much hear a cymbal to identify its character and tone enough to get a good match. Remember though, this is still an art form. Don’t hesitate to try different types of cymbals to expand your musical palate. A good set of cymbals will be a key element to your sound. As I said before take your time and choose carefully. Blessings to you and good cymbal hunting. Carl

Carl Albrecht has been a professional drummer & percussionist for over 25 years. He has played on over 70 When mounting the cymbals, be sure All of these guidelines should give your Integrity Music projects; the plastic sleeve is on the stem of the cymbals a long life. When making this Maranatha Praise Band recordings & cymbal stand. This cushions the cymbal kind of investment, you’ll be glad you fol- numerous other Christian, Pop, Country, Jazz & commercial projects. He currently hole and protects it against grinding. Also lowed these general rules. lives in Nashville doing recording sescheck the base plate on the stem. If it’s curved, make sure it curves downward. Over time, I’m sure you’ll want to add sions, producing, writing and continuing It’s supposed to match the shape of the to your collection. Maybe another crash to do various tours & seminar events. Visit bell of the cymbal. And last but not least, or splash would be nice. Whatever cym- his website: www.carlalbrecht.com or be sure the felt washers are in place on bal you add, be sure to do the same test- send an e-mail to: lmalbrecht@aol.com.

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MANDOLiN
By Martin Stillion

Leaning on the Everlasting Arms
I’m just back from Astoria, Oregon, where I went for a tenor guitar festival and wound up playing 5-string electric mandolin on a bunch of jazz songs in a coffeehouse. I’ve been working on a Scott Joplin piece in the Seattle Mandolin Orchestra. And I recently visited one of my favorite mandolin builders and picked up a vintage Gibson she had set up for me. The indicated tempo is somewhat ambitious. Yet ragtime shouldn’t be rushed, and it’ll sound fine if you go a little slower—but it’s crucial to keep the tempo steady! Practice the crosspicking until you get it smooth. The basic syncopated rhythmic figure is a little tricky, but once you’ve got it, you’re home free (at least, until you get to bar 25, where it’s altered slightly!). I left the chord symbols off bars 15–22, which   feature a chromatically  altered melody, in case  you want to reharmonize it. But the original          works          progressionPractice just  fine there. the                                        stratospheric leap in  bar 21—it’s OK (and       probably unavoidable)                                to let the audience hear  you slide up to that 15th fret! Bar 23 features the           famous four-note “all D”                  fretting                            chord. Work oncleanly, the final chords and remember that the     melody notes there are                                             on the E string, so make sure they ring out. Despite how it looks on the           page, there’s nothing                              technically earth-shatter                       ing here. If you’re able  to use this arrangement         somewhere, I hope                                     you’ll let me know how   it’s received. All of which led to a new hymn arrangement. The Gibson wanted a tune of its own, and I had swing progressions and Scott Joplin rattling around in my head. So here’s a ragtime take on “Leaning on the Everlasting Arms.” With luck you can make a duet out of this with a pianist or guitarist and trade chords and lead breaks … or you can play it unaccompanied.

          





               
  

     
       

 

              
        

        
                

  

 

                                                                      

   



                                  

                                          

Trivia answer: Colonel Sanders! Back in the 1960s or so, he outfitted a school band with new Kay mandolins and released their LP of hymns—which reportedly was sold or given away as a premium in Kentucky Fried Chicken restaurants. If you want to hear it, there’s a CD reissue, naturally. Google it! Multi-instrumentalist Martin Stillion, a 15-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.




                                                                        

   

  

  

  

  

  

   

  

  

  

  

  

 

 

 

 

  

  

  

  

  

  

   

   

   

   

   

   

   

   



     

     

 

   

     

  

     

        

   

 

   

   

   

WORSHIPMUSICIANMAGAZINE.COM JULY/AUGUST 2010

51

LiGHTiNG

By Greg Sisley

Lighting Helps us Hear
Worship Spice I grew up in a restaurant family. Over the years, I learned every position, from dishwasher to bartender. My favorite job was cooking. I still enjoy creating a great meal for my family or friends. One of the skills you pick up over time is the creative and inspirational use of seasonings and spices. Spices can make a new dish something special. The right seasoning can make common foods come alive and be experienced in a fresh way. Lighting a worship event is a lot like that. The impact of the message can be greatly enhanced by the artful use of lighting. taught us and compare it with how color is used in Scripture. As we do, make mental notes about how you can implement some intentional message reinforcement in your services. The excellent worship lighting designer will combin their understanding of light and its effect on our psyche, and their understanding of God’s prescribed use of color symbolically. righteousness, and the Creator to the absence of color. He even chose to use the entire spectrum of light (a rainbow) to signify his faithful promises. It seems like the longer we do lighting, the more fun it is and the more creative we get. I really believe that it’s because we learn more about our Creator, and understand more about His creation. Here are a couple things to keep in mind. First, don’t change lighting moods or thoughts abruptly. Although your lighting system has the ability to change moods quickly, your audience does not. Think about fade time and using transitional colors and effects. While the best way to the new scene may not be a straight line, be sure the cross-fade hues don’t fight the mood you are trying to achieve. Changes need to be logical and ‘walk’ with your people, not run off and leave them. For example, a rapid change from the calm of blue to the excitement of orange will usually serve to disengage the audience. It is akin to laughing one second and sobbing the next. Rapid mood swings in your lighting are no more desirable than they are in people. Second, as with all communication, don’t send mixed messages. White and red together are a logical combination for Christ’s blood and our new life, and their desired emotional affect calls for action and a fresh start. Combining amber with purple could potentially create a conflicted message. Lighting is a very powerful tool. Use it to help you help people see and hear better as you take an active role in the message. Use it creatively and intentionally. Most of all, use lighting with love, in an honest desire to serve those engaged in worship of the great lighting Designer. If you would like my complete reference chart of colors, their emotive results, and Biblical use, let me know. If you want to dialogue, email me at greg@howrt.com. Greg Sisley is on the pastoral staff at Faith in Kent, WA. He does lighting design and consultation with PRO Lighting and Sound, and is a member of the House of Worship Resource Team.

The Color Purpose Let’s start with most people’s favorite worship color, blue. The scientists tell us that blue tends to make us feel calm and relaxed. It provides a general sense of well being and contentment. Deeper As we explore some lighting funda- blues will produce feelings of happiness, mentals, I thought it would be good to love and romance. Not surprisingly, God focus on the effect light and color has uses blue in the Bible to symbolize the on our emotions and intellect; what are heavens, His authority, and his relationsometimes called light’s psycho-chromatic ship to man. properties. Proper application of lighting Green and blue used together allows will actually help people ‘hear’ the message you are sending in deeper, more our inner emotional ‘battery’ to recharge. evocative ways. Applying this knowledge We can relax and become refreshed. will help you ‘cook-up’ meaningful and These are also great colors to engage and focus our intellect and will increase memorable worship experiences. a person’s comprehension. Biblically, green represents restoration and new life. Memorable worship experiences. Red is mentioned in Scripture when Each individual element of a worship service contributes to an overall mosaic describing bloodshed, intimate relationwhich in turn communicates a broader ship, and sacrifice. When we ‘see red’, theme. Your lighting should intentionally we become excited, energized, and amplify the impact and clarity of both adventurous. Red is a color of action, the specific and the general themes you movement, and purpose. It calls for a reare trying to convey. The foremost use sponse. When red and black are used of lighting in worship is to assist in the together, it is to describe death, sadness, communication of a message to an au- and communion. dience. Effective lighting can create an Purple is another favorite in worship. environment that enhances the reception and interactivity of the listeners and at the Majesty, wealth, and Christ’s sovereignty same time support and add dimension to are described by God in purple. The the message of the communicators. There color purple promotes purpose, direction, are even occasions when the lighting it- and leadership. self can be used exclusively to convey a Yellows and amber have a tendency to specific thought or point. create a mood that is unsettled, creative and inspiring, with unfocused and meanMessage and Mood Many studies have confirmed the effect dering thought processes. God uses yelthat light - specifically color - has on us. low to symbolize Jesus, celebration and It literally changes us. Various frequen- joy, while amber and gold are usually cies stimulate intellectual and emotional referenced alongside warmth, intimacy, responses and alter the way we think and holiness, and the glory of God. process. Light touches our minds and our Many other colors are commonly used bodies. It can set us at ease or agitate us. Light can make us feel focused or scat- in worship, and are mentioned in the tered. The Creator who designed us has Bible as well. The stress and despair we also prescribed light and color throughout feel from black represents death, punishthe Bible to represent or help communi- ment, and slavery. For us uncertainty, discate the attributes of concepts or entities. engagement, and frustration are the result Let’s look at what our experience has of white, while God associates salvation,

52

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Sound

Installed Sound Seminars
July 14th & 15th
Matthews, NC

August 4th

New York, NY

September 14th
Houston, TX

The Sennheiser Installed Sound Academy enhances skills and knowledge on key practices, topics and trends in the installed sound/systems integration business. This one-day session offers valuable renewal credit toward CTS re-certification. Topics include: • Distributed audio systems • Digital audio networking • Systems for ADA compliance • Troubleshooting audio systems • Microphone selection and applications • Wireless personal monitoring systems design and applications
Who should attend? Designers and sales engineers, consultants, technicians, project managers, worship leaders, system operators, mixers and technicians, production managers, technical directors, anyone involved in the selection and purchase of audio products and anyone seeking CTS credits for certification renewal.
6/17/10 2:14:55 PM

Each seminar is $149 and includes lunch and workshop materials. You will also receive a $50 coupon good toward the purchase of any Sennheiser product!
For more information on our seminars please go to:

www.sennheiserusa.com/seminars

Or call us at: (860) 434-9190, Ext. 141
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A FeW MOMeNTS WiTH…

By Manuel Luz

Five Dreaded Words
At some point in your ministry, you will encounter five dreaded words that make lesser men (and women) run for the nearest exit. Five words that will make you want to shirk, deflect—and yes, even lie through your teeth. They are: “So, what did you think?” Usually it comes from a colleague or artist you know. They’ve just shown you their latest painting, or played you their latest song, or shown you their latest youtube creation. And they want to hear your opinion. Maybe. “So, what did you think?” Now, if their artistic expression is good, you will simply say so. But if it is not—especially if it is very not—then you will realize you may be in a no-win situation. This question is the artistic equivalent to, “Does this dress make me look fat?” Recently, I experienced one of these moments. Joe is an aspiring playwright, and he has been throwing his passions and energies into a play that had just run at a local church. He’s been working on this play for the past two years, and it was obvious that he was personally attached to it at many levels. So he sought out people in the area, “influential” people I suspect, to help further his production and gain credibility. art. Great art should not propagandize, but rather reflect the artist in some way— what he believes, what he has experienced, what he has placed his faith in, how he uniquely sees the world. In other Peering across the coffee table at me, a words, the Christian artist should not strive spark in his eyes revealing his eagerness, to create “Christian art,” but rather, strive he leaned into his question. “So, what toward honest art. And in that honesty, did you think? I really want to know,”he their art will somehow reflect the creativity asked between sips of his latte. “And of the Abba Father, the Lordship of Jesus don’t hold back either. I want to get some Christ, and the inspiration of the Holy good feedback that I can take with me.” Spirit. I believe that this holds true whether you are a playwright, choreographer, Now I had seen his play. In my humble moviemaker, poet, or songwriter. opinion, there was a lot of work to do. The dialogue was stilted and verbose. All All of these thoughts collided in my the characters were one-dimensional and mind like the opening stroke in a game stereotyped (does the anti-Christian an- of billiards. And as I sat in front of Joe, tagonist really have to be dressed like a fidgeting with my coffee, I took a deep Nazi?). And I puzzled over the dystopian breath—and then I slowly and tenderly, story arc, which seemed to exist only for and as lovingly as I could, told him what the purpose of asserting Christian dogma I thought of his play. upon the audience. It was preachy, condescending, long-winded and poorly To his credit, Joe accepted my opinacted. ions with a humble heart. He took mental notes of specific things I mentioned, and Something happens when art is used agreed that there were things he could to serve primarily as a vehicle for a mes- do improve the artistic integrity of his play sage. Francis Schaeffer, in his book Art and make it more sensitive to unbelievers. and the Bible, says that this kind of ex- We ended up talking for quite a while pression “reduces art to an intellectual about it all. And at the end of our converstatement and the work of art as a work sation, we parted as friends. of art disappears.” In other words, art is simply a vehicle for a message. When you are confronted by the five And in it’s worst form, art be- dreaded words, here is my advice: (1) comes propa- Always tell the truth bathed in grace and ganda. humility; (2) Be as specific and as constructive as possible; (3) Remember that But there your opinion is simply that—an opinion; is a larger and (4) As in all things, do it with love. view of I don’t know if Joe will do anything with my feedback. I don’t know if this will change anything he does now or in the future. But I tried to be honest and gracefilled with him. And as artists, that is always what we must strive for.

Manuel Luz is a songwriter a n d creative arts pastor in Folsom, California. For more discussion on faith and the arts, check out his new book, Imagine That: Finding Your Unique Role as a Christian Artist (Moody Publishers) or check out his website, manuelluz.com.

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