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Elite Core Personal Monitor System
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JAN/FEB 2012 Volume 10, Issue 1
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‘Worship Leaders & Pride’ by Tom Kraeuter
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Ten Years After
VOL. 10, ISSUE 1
Here we are standing on the doorstep of our 10th year of publishing. The very first issue was definitely a birthing process, and not a lot of people really know the whole story that led up to it. The idea had started out as a partnership with a worship record label, a worship print magazine from England and myself. My role was to help launch the U.S. version of the magazine. I was to handle the advertising, printing and distribution, and go to several worship conferences and introduce the magazine to the worship community. I would be a 50% owner, and I was pretty excited about the whole thing. I invested time and funds in going to conferences and pre-selling the publication. I bought marketing tools, and was revving up the engine for it’s big launch. Well, the day finally came and my record company partner was going to announce this new worship magazine through a huge e-mail blast to their list of worship folks. It was really happening! Then the phone rang in my office and I was told (by a tearful record executive) that the editorial partner in England had just announced that they were closing down their publication. What? Not only that, but the record company realized that without the editorial partner, the whole plan was dead in the water and they were pulling out as well. What? There would be no e-mail blast, no partners… there would be no magazine. I was really shocked by this whole development. I had told a lot of advertisers about the new magazine, and I even had a good number of pre-paid subscriptions from people who believed me when I told them about this new publication aimed at helping them. I was surprised, disappointed, and generally caught off guard by the whole chain of events. I got in my car and drove to Tacoma to one of my favorite guitar stores (Guitar Maniacs – a vintage shop). A 1940’s Supertone nylon-string guitar with a Hawaiian motif stenciled on it caught my eye. It had a white “mother of plastic” fingerboard and the tone was full bodied and aged beautifully. It was something good in the middle of all these mixed emotions and it was
Continued on page 44
Product Review By Mitch Bohannon Elite Core Personal Monitor System 38 The Band By Tom Lane Burnout 39 Lighting By Greg Sisley Creating a New Lighting Design 40 Camera By Craig Kelly Ten Tips for Camera Operators in a MultiCamera Situation 46 Mandolin By Martin Stillion Breaking Down a Tune 48 Product Review By Chuck Bradley Gen16 Cymbals 50 A Few Moments With… By Tom Kraeuter Worship Leaders & Pride
10 From the Drummer’s Perspective By Carl Albrecht Every Drummer’s Battle 12 Keyboard By Ed Kerr How Good is a Timely Word 15 Bass By Gary Lunn Do the Tighten Up 16 Vocals By Sheri Gould The Ultimate Vocalist 18 Worship Team Training By Branon Dempsey Beyond the Setlist (Part 1) 24 Songchart “Here” by Kari Jobe, Leslie Jordan, and David Leonard 26 Product Review By Benji Cowart 000-28EC Eric Clapton Signature Martin Acoustic Guitar 30 FOH Engineer By John Mills A Couple Great Tech Tools 32 Ministry + Artistry = Profitability? Creating your MAP™ By Scott A. Shuford Social Media: Where Do I Start? 34 Authentic Worship By Michael Gonzales Beyond A Life of Purpose 36 Guitar Grab Bag By Doug Doppler Sound Theories
4227 S. Meridian. Suite C PMB #275 Puyallup, Washington 98373-5963 Phone: 253.445.1973 Fax: 253.655.5001 Email: email@example.com Website: www.worshipmusicianmagazine.com Publisher/Editor: Bruce Adolph Vice President: Judy Adolph Customer Service: Brian Felix firstname.lastname@example.org Copyediting: Kevin Wilber, Toddie Downs Design Layout & Production: Matt Kees Advertising Sales: Bruce Adolph email@example.com • 253-445-1973 Worship Musician! is published bi-monthly by The Adolph Agency, Inc.
20 Where We Find Kari Jobe by Aimee Herd
cover photo: Jessica Sheppard story photos: Reid Rolls & Jessica Sheppard
WORSHIPMUSICIANMAGAZINE.COM JAN/FEB 2012
By Mitch Bohannon
Elite Core Personal Monitor System
Oh my goodness! I have to say, I have been very anxious to test out this new personal monitor system from Elite Core Audio... ever since I first saw it advertised in Worship Musician Magazine. I just so happen to be in a position that I need a personal monitor system for my team and I wanted to get my hands on this before I made my final decision. If you attended CMS, you may know that I have been teaching classes on how to utilize a click track using Ableton Live on the worship platform… in order to do that, some type of in-ear monitor system is most certainly needed. Last week, Chris Ward, one of the innovators behind this system, drove down to South Louisiana from Arkansas to show me how it works! In music, we often see products rise to the “top” and practically become “industry standard”, and it becomes very difficult for that standard to change. However, even among similar products, many opinions come into play… (just like with pickup trucks in the South!). I’ve used other personal monitor systems, and was completely blown away by this one. It’s clarity and power is very impressive. I would forecast the “industry standard” changing soon! The basic components needed are similar in the personal monitor market. From your FOH board, the signal comes out of the direct outs or the insert points into an input module. The Input Module from Elite Core Audio includes (+4/10 dB) pad control for each individual channel. The input module connects via CAT-5e cable to the Distribution Module on the platform. This unit will send power to eight PM-16 units (personal monitors). Just like with other systems, more personal monitor units can be chained with CAT5 cables and use their own power source. These are similarities in setup to other systems… the difference is what you can hear in the PM-16! clarity of the Elite Core Audio system, I believe we’ll ultimately be pumping less volume into our ears.
In my previous experience, I needed to add a wireless transmitter to my system, and just was unable get a strong enough signal through that little headphone out to drive the transmitter. It caused me to raise the volume on my body pack very high (and ultimately caused me to purchase a much more expensive rackmount version of the monitor). The PM-16 has line Look at the PM-16. At first glance, outs which would be a better choice to some differences are quickly noticed… drive a wireless transmitter or powered individual Volume and Pan controls for monitor… whatever you’d need to send a each of the sixteen channels / Signal full signal to. In addition, the headphone present light for each channel / Ambient amp used in the PM-16 is top of the mic with volume control / Compression line (very powerful) and will power any and EQ controls / Rugged metal housing headphones. / Neutrik Ethercon connectors (use either standard CAT5 or the rugged While testing the unit, I had a nice mix Neutrik connector) / LED meters to show going and Chris reached over, turned up combined channel levels / Headphone the ambient mic volume, and spoke to as well as LINE-outs… WOW! me... How pleasant it was to actually hear someone speak with my ‘ears’ on! Chris hooked me up with a multi-track Remembering how often I would have recording in Ableton Live and gave me to only speak into my microphone when a couple of pointers and then I began to addressing my worship team because build my mix. Starting with all volumes on everyone was wearing earphones. “Zero”, I turned the master volume up to Problem solved! about 75% and then begin adding volume to individual channels, beginning with the As I mentioned before, the positive instruments most important for me to hear. differences in the PM-16 alone make this (Starting with the master volume at 75% unit stand apart in so many ways. The leaves a ton of headroom for control. fact that this Elite Core Audio system is The master control is after the volume so sensibly priced is just, as we’d say in meter… so, as long as the lights are not Louisiana, lagniappe (something extra)! clipping red, you can turn up with NO Components: -IM-16 input module has a distortion). It was amazing the amount MAP of $629 -DM-8 Distribution Module of volume with clarity I was able to get has a MAP of $329 -PM-16 Personal out of this unit. It can seem scary stating Mixer has a MAP of $429. Some how loud it can get when we’re talking fantastic, affordable accessories will be about in-ears… we surely don’t want to coming available as well. damage our hearing. BUT, if you’ve used www.EliteCoreAudio.com in-ear monitors before… often, when you can’t hear your instrument or vocal well, it’s easy to start raising volumes. With the Mitch Bohannon is the Worship Pastor at Life Church in Sulphur, LA. Mitch helped develop the Short Cut Capo for Kyser. He and his wife, Noelle, have the 3 most incredible kids in the world… truly!
JAN/FEB 2012 WORSHIPMUSICIANMAGAZINE.COM
FROM THE DRUMMER’S PERSPECTIVE
By Carl Albrecht
Every Drummer’s Battle
I’m laughing at myself right now… I was surfing some drum websites looking for ideas for this article and landed at http:// www.drummerworld.com/drummerchoice. html (One of my favorites by the way. Such inspiring stuff.) There are lists of top drummers in various categories, but to the left is a general list of the top 500 drummers… AND I WAS NOT ON IT. Imagine that! LOL!
about awards, money, or being on a list. Again… I’m not being critical of those things or feel they’re bad; it’s just that they need to be kept in their proper place. If they come to you, great!... BUT don’t live 7. Work with new technology. for them! Besides using a metronome in practice, rehearsals, and events… also dive into So what was I looking for on the web drum machines or loop software. Again, when all of this unfolded? … ideas! … there are so many options just start simple sounds! … fresh drum and percussion and then build as you go. I was just concepts. For worship drummers, reading on www.drummerworld.com OK... excuse me for being so honest, but probably the biggest challenge is to find where Omar Hakim decided early on I am human! At first I actually felt… well… time to keep growing in your talent. Most (the 1980’s) that he had to learn drum somewhat small and unimportant. But then of you are not doing music full time and machines and all the latest technology to the Holy Spirit stirred in my heart and you feel overwhelmed with just trying stay fresh in his drum growth. It not only actually got me to laughing about how silly to learn songs for next Sunday. But I helped him grow musically, but it kept him I was to be concerned about such things. I challenge you to keep reaching for higher working. quickly let go of my pride… (Yes, that’s still a levels of what the Lord has called you to sin!), and really got the Lord’s perspective on and gifted (equipped) you for! Don’t be 8. Ask for suggestions and USE them. these feelings. Awards, money, recognition, discouraged by what you can’t do, but This is a tough one. Ask your worship being on a list, etc. etc. - are not what brings build upon what you’ve got. Be faithful! leader and team mates how your playing any real value to who we are as people. feels or what they need from you. Do 1. Play everyday! At least 30 minutes they need more or less volume? …more It’s not wrong or ungodly to have great to an hour. If you don’t have a structured or less notes? …whatever… Don’t get success or recognition in our work, as long routine at least work on a bunch of songs offended… really look at it as a way as it doesn’t rob us of humility, and the heart of various styles. (*Practice routines can to learn and improve your drumming. to love and serve God and people. We be found in my previous articles and at You can even do this with personal and ARE a success if we live with that as the many web sites.) spiritual issues – but that’s another article. focus of our life’s journey. PERIOD! Don’t 2. Work with a metronome! ALWAYS! let life become about “the stuff,” but about 9. Record everything. Even if it’s a God’s purpose for us. I have often said there When doing rudiments, groove exercises, cheap digital recorder or flip video record is no “BIG GIG” to God… not in the way and even drum solos get use to playing yourself practicing, at rehearsals, and we would think of it in worldly terms. All everything to a click. during any performances. As they say, of life is the BIG GIG as we focus all of “The tape does not lie!” You can learn so 3. Mix things up. If you’re stuck, just much by doing this. *NOTE: Don’t be so our talents, gifts, and every opportunity as a way to, again, bring honor to God and to cruise the web or YouTube for drum ideas critical that you become discouraged… and lessons and learn something new. use it as a way to improve your skill. Every love and serve people. http://www.worshipdrummer.ca great performer and athlete uses this tool. Now that I’ve fought this battle again, (*If possible have your engineerrecord 4. Call for a band jam. Sometimes direct from the mixing board.) and won… I don’t want to overlook the fact that we are still called to be faithful to do our you have to take charge as the drummer best with everything the Lord has given us. I and get your team together to practice 10. Work with your engineer. You still have tons of ambition and desire to see more. Talk to your worship leader about and your drums might sound amazing, what God has next for me on the horizon. a monthly night of worship where you but work with your tech team to be I hope you do too! The desire to grow, just play through a bunch of songs, sure all the mics and drum channels are learn, and to do well should still be stirring worshipping God as the minstrels of the working great. Take the time before the in your heart. That’s why I was searching the house. It might just be a band jam on rest of the band shows up to get the drum internet for new drum and percussion ideas. one song for 20 minutes. … or it could mix happening. be an extended band time after your I’m sitting in a recording studio right now regular rehearsal. Be creative! *Maybe These aren’t necessarily the top ten working on a project for a worship leader just get with the bass player and work on ideas, but they are ten of my favorites. from Brazil. We’re listening and editing grooves. As you get into the habit of working at takes… tweaking drums, bass, guitar, your craft you’ll find inspiration in many 5. Take lessons and go to drum things. I’m more and more excited about keyboards… everything! AND adding layers of other sounds – (overdubbing). clinics. At any age or skill level you can the amazing talent God has deposited Every experience is a little different and it’s always find a teacher to push you to the in artists today. Don’t let the devil mess exciting to make music with such talented next level. If you don’t relate well with with your mind by comparing yourself to people. I always keep my heart and mind one, move on to another teacher. Clinics others… choose to be inspired! Being open to learn, and to try to feel what’s are great single events for inspiration! “WOW-ed” is a good thing when you going on with the artist, worship leader, and GO! see the world as God’s “playground.” other players. It’s interesting that when I’m Continued on page 42 doing what I’m suppose to I’m not thinking
6. Buy a drum DVD. There are so many good teaching DVDs it’s hard to choose a favorite. Pray when shopping… NO KIDDING. Ask the Lord when you’re looking to buy. Yes, it’s good to research the information too; ask others; read reviews, but the Lord does help in your learning process.
JAN/FEB 2012 WORSHIPMUSICIANMAGAZINE.COM
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By Ed Kerr
How Good is a Timely Word
Years ago I memorized Proverbs 15:23. It says, “A man finds joy in giving an apt reply, and how good is a timely word.” This Scripture recently blazed with relevance for me again. I was reminded that it’s not only words we say that might be timely for someone who hears them, but words we sing as well. I wish I had the skill of a Hollywood screenwriter to craft the following story. I write songs, though, not screenplays, so I’ll just tell it to you. It involves me choosing songs for a recent Sunday at my church in Seattle and a woman who attended my church for the first time that Sunday. Like many of you, one of my tasks each week is to be sure musicians are scheduled for worship teams and songs chosen for our services. On this particular week, a female vocalist was scheduled to sing. I knew that one of her favorite songs to lead is “Your Love Never Fails” by Chris McClarney. I made it the third song in our four-song set. And, like many of you, the worship team and I, along with other volunteers met early on Sunday morning at the Junior High School where we hold our services to set up the sound system, the chairs, the signs. It was a fairly typical Sunday. We sang the same songs at 9, at 10:15 and at 11:30. Nothing particularly eventful about how things went musically that day. The band seemed to follow the click I was playing from my iPad well. No significant train wrecks musically. Time to pack up everything and load the trailers again. I might have headed home to my usual Sunday afternoon hang with my family, but my pastor chatted with me a bit in the parking lot after I’d loaded my keyboard in my van. He opened my eyes to a sobering situation that we’d all just been part of. A lot more went on during the day’s services than us playing chords, projecting lyrics on a screen, and singing a melody and vocal harmonies. A lot more was spoken than anything my pastor’s message contained. A timely word was heard. This is where I wish I could write a screenplay. Because, like all of you who are reading this, you don’t only sit in practice rooms in a music school somewhere, or in isolated rooms in the corner of your church when you sing songs of worship like “Your Love Never Fails”. People gather to sing, to hear someone speak a message, and some, beautiful paradox. On one hand we are to see if they can find hope for their lives. wired to scrutinize every musical facet of our presentations, whether the opening That was definitely the case on this song has enough energy, whether the key particular Sunday. As we sang the lyrics signatures of our songs flow well together, of McClarney’s bridge, “You make all whether our songs are familiar enough to things work together for my good”, the engage the congregation. On the other words were penetrating the fog of grief for hand, the Spirit of God is using our efforts someone in the room. She’d been invited to bring His timely words to the people to come on this particular Sunday by a who hear what we sing. neighbor. The neighbor knew the terrible realities her friend was experiencing, but There will be grieving Mothers in none of us on the worship team did. My your church this weekend. There will be pastor didn’t. musicians at your rehearsal this week who are walking through financial difficulties. Unimaginable tragedy had marked this Someone who helps hand out programs lady’s life a few days before when her as people enter your building will be 9 year-old son had been killed. What wondering whether the chemotherapy the child had meant as a harmless prank a loved one has begun will be effective ended his life. While I might have been or not. I am more aware than ever that thinking, “Should we sing this bridge one the moments we spend singing together more time?” this grieving Mother might when we gather on Sundays (or whenever have been wondering how she would you meet) will be moments when God face going into her son’s bedroom again, speaks His timely words. Let this passage what she would do with the toys he’d from Isaiah 61 (verses 1-3) grow your loved to play with. She might not have confidence that God’s Spirit is with you been singing along with us, but she was when you lead. definitely listening. Listening to a timely word. The Spirit of the Sovereign Lord is on me, because the Lord has anointed It wasn’t just the words of this bridge me to preach good news to the that ministered to this grieving Mom. poor. He has sent me to bind up the The last song of our set was “Healer” by brokenhearted, to proclaim freedom for Mike Guglielmucci. Imagine what it must the captives and release from darkness have been like for her to hear us sing for the prisoners, to proclaim the year the first line of the verse, “You hold my of the Lord’s favor and the day of every moment, You calm my raging sea”. vengeance of our God, to comfort all Actually, none of us can imagine what it who mourn, and provide for those who was like for her. What her loss feels like. grieve in Zion—to bestow on them a But the Living God can, the Holy Spirit crown of beauty instead of ashes, the can, and the Prince of Peace can. And oil of gladness instead of mourning, and a garment of praise instead of a He spoke to her. spirit of despair. He also inspired Proverbs 15:23, “… Amen. Thank You, Jesus, for Your how good is a timely word”. After my pastor told me of this woman’s situation, call on our lives. We are humbled and I made my 20 minute drive home not honored to sing Your timely words. thinking about what my kids might want me to do with them in the afternoon, or what NFL game we might watch. I thought of this woman and what my gracious Abba had ministered from His heart to her through the songs we’d just sung. It’s a rare article from me here that doesn’t include talk of chord voicings, arrangement ideas, hooks, or what to do when you’re playing a pad sound. This situation with the loss of this young boy’s life has reminded me with sobering intensity that you and I are involved in a
As a songwriter Ed has written over 100 songs with Integrity Music. He has a Masters Degree in piano performance. Ed and his family live in Washington State. Ed plays Yamaha’s Motif XS8. www.kerrtunes.com
JAN/FEB 2012 WORSHIPMUSICIANMAGAZINE.COM
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By Gary Lunn
Do The Tighten Up
As I have stated before, the click is your Friend. Clicks are NOT over-rated. Clicks (metronomes, loops, drum machines, etc.) can help any instrumentalist or singer to grow musically, and to be steady and solid. If your own internal clock is as good as (or close to) the click, then you are a better piece of the “puzzle.” I worked with a drummer once who would occasionally get so excited during a fill that he would rush so far ahead of the click that we would have to all “align” with the next beat. This lack of preparation on his part was not up to the standards of what we are to offer to Him during worship. I believe that it’s a great idea to give all musicians, even I have always felt that the bass player beginners, a chance to play with the in a rhythm section is the most “time” band as long as it’s during a rehearsal. conscious member of the band. They Worship services should be reserved for must constantly listen to subdivisions in the the more time-conscious musicians rather music, comparing the subtle differences than beginners. If a post on the worship in the styles of subdividing among each team can’t be filled at a service, the band member of the band. Bassists have to is better off playing the service without learn to trust their watchman-like concept that member rather than risk train wrecks of timing to compare the feel of those that can disrupt the flow. players around them. This can only help the “lock in and groove” effect. Most churches these days are using headphone-monitoring systems. Playing Awareness of timing (rushing or together with headphones almost always dragging) can affect the heart, or helps a band play tighter together, cadence, of a song to the point where especially when there is a click/loop in the effectiveness of the song depends the mix. Headphones do tend to take on how steadily you, as a timekeeper, a little of the “live” excitement out of the present it through placement of bass lines. overall experience, but usually, the end As bassists, we have the ability to “pull” result is a better-played song/service. back a rushing instrumentalist simply by laying back on the beat. If you are A cool thing that happens during playing with a click, concentrate hard on sessions or live events is when the click it and constantly remind yourself to lay “disappears.” This happens when back behind it ever so slightly. If you hold everyone is playing so closely to the fast to that technique, the band will follow click that they can no longer hear it. you eventually, forcing everyone to play One thing that helps this happen is with the click. when the drummer uses a click sound that resembles a standard “video” click. I recently had an experience playing It sounds a lot like a drum practice pad with a less-experienced drummer. Oddly with a little extra “pop” added to it. enough, for most of the duration of each It’s a very common sound. It is listed in song (compared to what I expected), he Digidesign’s Pro Tools click list as the “dragged” behind the music, especially “MPC” click. The reason that it is called in the verses. The other surprising part that is because the Akai drum sequencer, was that we were playing with a click, model MPC-60 used that one click sound which made everyone panic. Rushing is from their click output. It is very familiar a lot more common in rhythm sections due worldwide and is most musicians (that I to excitement, busy-ness in playing, etc., know) favorite click sound to play with. but when the music drags, no one really It can easily “disappear” when a great groove is established in the band. Also, knows what to do. it’s very useful when it happens because In my humble opinion, nothing “kills” if you can hear it, it means that (usually) the effect of a worship song like when the drummer is rushing or dragging, so he it drags. Slowing down in the middle or knows to adjust. If he hasn’t heard about end can ruin the effect of the song. The this phenomenon, be sure and tell him audience doesn’t necessarily recognize about it. exactly what the problem is, but I Another advantage to practicing with guarantee if you ask anyone about it later they will say something like, “That song clicks and/or loops is that it can help sort of fell apart, didn’t it?” They just sense bring you to a level of excellence that an overall “bad” feeling in the music, and helps you hear different player’s “feel.” it is often times disrupting to the spirit in When there is someone in the band that has great timing and their own “cool” the worship. feel, you’ll know it. When you notice that you can listen to them and learn their concepts, swing values, etc. If you are working with a beginner, or maybe with someone in the band who is having “one of those days,” remember that we are called to be an inspiration with an enthusiastic heart and a great attitude. We need to make playing in the worship team more about the One we’re playing to than about the playing itself. When we realize this, we find new strength and new ability to play better with the gifts He’s gifted us with. Conveying this to others can only lift their spirits!
Gary is a session player/ producer/writer in Nashville, currently playing for Lindell Cooley, MMI, home recording, and many recording session accounts, attending Grace Church in Franklin, TN. Find him on www.facebook. com for questions or scheduling
WORSHIPMUSICIANMAGAZINE.COM JAN/FEB 2012
I wish I could use what I have more effectively! When it comes to singing, there is much that we can do to get our mind working for us rather than against us. Take stock of the many mental messages that play over and over again in your head with regard to your singing— or singing a particular song, or even a specific part of a song. Often the messages coming from within are not always helpful or encouraging. We need to take hold of these thoughts (…taking every thought captive) and make a decision about whether or not they are helping us accomplish our goals. I want to just look at one common thought process regarding pitch. Most of us think of pitch as something that goes “up” (or down). We tend to envision the pitches we sing in this way. As we do so, oftentimes we begin to react physically to what’s going on mentally and we may tend to tense up. Perhaps we’ll raise our eyebrows, or stand on our toes in an effort to “reach” the pitch. All of this goes against what we should be doing; which is relaxing. I try to think about pitch as rolling put in front of me on a slight decline. That way when I picture the pitch, I’m actually “stepping down” in my mind to scoop up the pitch: I’m not reaching up for it. This has a significant effect on my whole body—but it’s my mind that’s controlling it. There are so many aspects to this particular application that there is no way to cover it in a small section here. I do ask you to try and take an inventory of your personal thoughts with regard to your singing though and don’t let them get the better of you—take control of that fabulous brain of yours! Present Presenting your song is probably the most critical part of the whole process. Why? Because even if you have done everything else I’ve listed but fail to present your song well, it could be all for naught. On the other hand, even if some of the other things don’t get handled as well as you might have liked, there are certain things you can do with your presentation to help smooth over some bumps. . Because of the importance of this topic, I will deal it more fully in my next article.
By Sheri Gould
The Ultimate Vocalist
I have decided to put together a short list of what I consider to be some of the most important aspects of being a great vocalist. I have put them into a simple list of 5 words starting with the letter “P”. These are simplified steps to becoming a great vocalist even without a lot of training. They are easy steps you can do on your own— even without the help of a coach (although the help of a coach is always better). They are each distinct, and yet all connected to each other. If there is even one of these aspects that we don’t get right, the whole “ship” can go down, so make sure you have a good grasp of these basics. Here’s the list: Practice Practice may not make “perfect” but it will get us a lot closer! We need to get really comfortable with whatever we’re singing if we’re going to be able to present our song in a manner that reaches people. So we need to practice whatever song we’re singing until we not only get it right, but it’s also like second nature to us.
I like to quote my college vocal coach who once told me, “You can’t even START to work on a song until its memorized, and NEVER sing a song in public that you haven’t sung at least 100 times in private.” He was on to something. PracPrepare ticing well can truly help with so many Being prepared means being vocally things; including nerves. When you are and musically prepared. It’s imperative to confident that you know your song and prepare your body, mind, and spirit. Many that you can sing it effectively, you will an opportunity has been lost simply due to be much less nervous. When you are less lack of preparation. nervous and more relaxed, you can help Vocally: warming up is essential for the your audience to be more relaxed and be vocal mechanism to work at its best and to able to enjoy your song and respond to avoid unnecessary stress/damage to the the message instead of your nervousness. cords. NEVER sing without warming up. You will not only sound a lot better, but you’ll Position save (and extend the life of) your cords. Position your larynx properly. Many are But beyond simply warming up before the problems associated with high larynx your presentation, you need to be preparing singing. Make sure you learn how to reyour voice to sing whatever song(s) you’ve lax the muscles in your throat and neck. selected. Each song will present unique and When the larynx rides up, it creates tendifferent challenges, so you may find the sion and also squeezes up against the need to work on certain technical aspects trachea making the area you have for air of a song until you feel more confident. This and tone flow in the throat much smaller. often means breaking the song down into The throat can be a great source of resosmaller sections and isolating the specific nance leading right into the chest area, areas that need work. Oftentimes there are but not if the larynx rides high and cuts vocalises that are applicable for exactly the it off. When that happens, you are relproblem you’re facing in your song. Hav- egated to only being able to sing with a ing mastered a few of these key exercises resonance from the jaw upward. Therecan prepare you long ahead of time to be fore, you’re much more likely to have a able to apply the technique right where and thinner resonance (upper head register) when you want to. with a high larynx. Most of us prefer the Musically: It’s important to choose mu- richer sound of a lower register (chest) or sic that is well suited for you. This includes would at least like to have the option of range, style and appropriateness for your choosing between the two. When you event. Just because you really like a song constantly sing with a high larynx you doesn’t necessarily mean it’s right for you have fewer options. to sing. (Having said that, there are times when a song can be adapted for you) Having the right song, in the right key, with the right accompaniment is a very important component of being prepared.
Additionally, keeping the larynx low not only eliminates tension, but it paves the way for extending your range beSee ya next time! Until then, keep on cause of it. So learning how to relax and singing for Him! master this technique will really help you Spiritually: Take time to pray about your in your quest to deliver your songs with Sheri Gould has a BS in Muupcoming event. Ask God to give you a the tone quality that you want. sic Education (Vocal/Choral) clear vision of what He wants to do through Perceive from the University of Illinois. A you and you’ll have a much better chance of accomplishing more than just a “perforThe mind is an amazing thing. Scien- church music director (Choir/ mance”. You can actually touch people’s tists tell us that we only use about 10% of Worship Leader) since 1985, lives. our brain; I can only imagine what capa- she also teaches vocal techniques at various bilities lie locked inside. I just know that workshops around the country. Send your
questions to: firstname.lastname@example.org
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WORSHIP TEAM TRAINING
By Branon Dempsey
Beyond the Set List (Part 1)
First I would just like to say, “Thank you!” and, “Great to meet everyone at the recent CMS Northwest 2011!” There were many fantastic conversations and topic-questions among the many of you. In a few of the classes I taught, we discussed one issue that seemed to be common with most worship leaders: song selection. Week after week we’re on the hunt for creating a good set list. Searching for a song that has a cool groove, an epic guitar part, or a captivating drum style can seem like trying to find a diamond in the rough. However cool the song may be to complete our list, we may be missing something that’s standing right in front of us: the words. In a service of worship, at the core of the worshipper, how do they connect? In our attempts to engage the congregation, do they find the words helpful or are they even existent above the music? The song may be the coolest around Youtube, but if our words are empty, we are only a clanging cymbal. When was the last time you really looked at the lyrics of the songs you sing? As you pick songs to sing, are your choices based on the lyrics or on the groove? Some people say that contemporary music lacks sound theology, while hymns provide a more solid foundation of Scripture. I haven’t found this to be true, as both can have their concerns for Biblical accuracy. honor God, and not just to satisfy our preferences. In the Old Testament, Amos was a worship leader. He was charged by God to lead the people back to Him. He was deeply concerned about the integrity of worship and the words that they used. Israel continued to turn their backs on God. Poor Amos, he fought the same battle most of us do in our churches. They worshipped many things rather than God: idols, riches, and power. They rejected every divine effort to provoke repentance. Instead of using their words to honor God, they used words to honor evil. No matter how many times God extended his hand of mercy, the people rebelled and would not return to Him. In Amos, the Lord challenges the Church to “seek Me and live,” (5:4). To seek God is to turn away from sin and return to His covenantal love and faithfulness. No matter how great a worship service we put together, we must remember that the service is His. God wants all our heart and worship to be genuine, as an act of obedience. is, the fruit of our lips that confess His Name.” You may have heard me say the phrase before, “service of worship”. Most people use the term, “worship service”. It is my opinion and belief that we are to serve the Lord through worship. Meaning: in worship we give our gifts and service whose only recipient is God. This was not the case in the times of Amos; their bodies were present, but their minds and hearts were elsewhere. God takes his service and words very seriously. So should we. As leaders and artists in the church, we have a higher calling to accountability. We are to be mindful of our words in worship and it’s preparation. May we choose songs, lyrics, and melodies that are pleasing to His ears and that honor His Name as it refreshes the soul of the worshippers. Branon Dempsey Visit: www.worshipteamtraining.com
Even more so, Amos provides a more critical warning. In fact, I find this most dangerous. In the midst of Israel’s celebration of self-loathing and praises of idolatry, God reveals Himself as indignant in His jealousy. This will freak you out. The Almighty says in Amos 5:23, “Take away from Me the noise of your songs! I will not listen to the music of your harps. But let justice flow like water, and In our teams, we may lean toward righteousness, like an unfailing stream.” I choosing contemporary songs because just shudder with conviction and wonder; hymns are not as user-band friendly to how much of our services are noise to play. Both of these viewpoints have their God? How much careful attention do I own merit in choosing songs. Finding pay to the words I select for a service that the right choice of songs and those that should honor God with our heart as a work well with a contemporary band is Church? As Hebrews 13:15 boldly says, a challenge within itself. But the chief “Therefore, through Him let us continually challenge is to plan services that rightly offer up to God a sacrifice of praise, that
Branon Dempsey is the CEO/ Founder and Training Director of Worship Team Training® (www.worshipteamtraining. com) a ministry providing live workshops and online resources for local worship ministries. Branon holds an MA in Worship and BM in Music Composition/Performance. Featured WTT Radio Show Host on Creator Leadership Network to 70k listeners, Instructor/Speaker at Christian Musician Summit, New Column Writer for Worship Musician Magazine and TCMR iLevite Magazine and CCLITV Video Training Contributor. Worship Team Training® is sponsored by Creator Leadership Network, Christian Musician / Worship Musician Magazine / Christian Musician Summit, Sibelius USA and G3 Music Publishing; endorsed by Promark Drumsticks and Jim Hewett Guitars.
Copyright 2011 Branon Dempsey | Worship Team Training | Administered by For His Music. All Rights Reserved. Printed in the United States of America. www.worshipteamtraining.com
JAN/FEB 2012 WORSHIPMUSICIANMAGAZINE.COM
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Where We Find
by Aimee Herd
album in a relatively short amount of KJ: I loved writing “What Love Is time; compared to the first? How did This.” I had the beginning of this song you work through that, or conversely, for about 6 months before I was able to finish it. I took it to Mia Fieldes and what made the process an easy one? Lincoln Brewster in a co-write and asked KJ: It didn’t feel like a short amount if they wanted to help me finish it. Best of time. I felt like God started giving idea ever! It is a love song to Him. It me new songs right after the first album comes from a place of gratitude for his was finished. Since songs and themes love and sacrifice. for songs come out of my personal time with the Lord, it does take time to finish I love all the songs on the album and I them, but if I’m really tuning into God have a story for each one...but for time and asking for songs and ideas...I feel sake...I’ll only talk about one more, like they flow easily! A lot of it, for me, “One Desire.” I wrote this song with is staying open to hearing and being a Jason Ingram, an incredible songwriter good steward to write them down and and worship writer. We were sitting finish them. I was able to take about that morning before we started writing, 2-3 months and just focus on writing to and we were talking about worship. … finish songs for this album. That made it about how worship is a calling to put God first. …to sing and praise Him pretty easy. alone. So it’s a song of declaring where AH: Are the songs co-written, and I find the Lord and that He is my One if so, who did you collaborate with Desire. musically and lyrically? What is the In all the things we can end up songwriting process like for you? praying and asking God for—the most KJ: I did do a lot of co-writing for important thing is to worship Him alone this album. I love that kind of process and to put Him as our Number One. in my writing because it brings so many On a side note...I had been talking ideas to the table. I wrote with Jason Ingram, Ed Cash, Matt Bronleewe, that morning about the Song, “I love Mia Fieldes, Lincoln Brewster, David You Lord”—I sang it all the time as a Leonard and Leslie Jordan from All Sons little girl and it was really one of the and Daughters; Ben Glover, and a few first worship songs I ever led at Church. So this song is a little spin off of that others! simple worship song as well. I think it’s When I co-write it’s always nice an anthem and a simple worship song because I’m pretty limited with what to God. I can play on an instrument, so I rely AH: “I Love You Lord” is one of the heavily on them for piano or guitar. I find that my strength lies in melodic first choruses I learned to sing when I ideas and then lyrics follow. I like to was a brand new Christian, and it’s focus on a theme too and the lyrical always been very dear to my heart. Kari, there is some really beautiful ideas flow a lot easier. instrumentation on the album that really AH: Talk about a few of the songs compliments your voice (by the way on the new project that have really I love your voice, it’s very clear and impacted you in the writing, and in expressive!); talk about the musicians putting them down on tracks… One involved in the recording. that comes to mind right away is “What KJ: Thank you! I rely on players that Love is This?”
“Clarity” and “Honesty” are adjectives that readily spring to mind when listening to the music of Kari Jobe. And that just makes sense when you consider that we are called to worship God in Spirit and in Truth. Read on to hear the true heart of a worshiper as Kari shares about her latest album and what God has revealed to her in its writing. Aimee Herd: Kari, your first release was really well received, and now you’re releasing your sophomore project “Where I Find You.” Did you have songs that were already written that didn’t make it onto the first album, but that you’re including on this… or did you go with a whole new theme and write songs specifically for that theme on this project? What is the thematic concept of this new album? Kari Jobe: This is a whole new CD for me. I began writing for this album as soon as I released my first one. I like to write songs out of my time with the Lord, thus, it takes a little while for me to start and finish songs. I had a few finished songs going into the major part of the record, but I had to also spend a significant amount of time writing more songs right before I recorded. I did a ton of co-writing at that point. I didn’t focus on any kind of theme up front... once the songs were finished and selected for the album, I then realized the theme spoke up for itself. AH: What kind of sets it apart, first lyrically, and then musically from the first one? KJ: It’s a deeper lyric on this new album. These songs came out of a hard place for me. Sometimes life throws you curve balls and circumstances you don’t see headed your way. Timing for hard things is never good timing, but I had to choose to Praise God through my pain and FIND where He was in the midst of it all. Musically this CD has a stronger and greater musical presence. I wanted it to be louder and more driving...but to definitely still have sweet and peaceful worship moments. AH: You’ve been a worship leader for some time now, but as a songwriter, was it difficult to assemble another
JAN/FEB 2012 WORSHIPMUSICIANMAGAZINE.COM
WORSHIPMUSICIANMAGAZINE.COM JAN/FEB 2012
Where We Find Kari Jobe - by Aimee Herd
(How can others partner with you in it, or take part in it?) KJ: I was there with Christine Caine when she first started A21 and I fell in love with her and her heart for the massive slavery problem. I know there are many ministries who are doing things to bring awareness, raise money, and to rescue girls; and it’s going to take every single one of us. I feel a sense of responsibility because it is affecting a growing 27 million men, women, and children. It’s an astonishing number and an incredibly awful business and I have to do all that I can to help stop it. I hope it can be said of my generation that we were able to put an end to it and make it illegal in every country. I will always do what I can. AH: Kari, is doing what you’re doing now the fulfillment of a dream you’ve always had, or is there something that’s always been on your heart to do or accomplish that you hope to someday? KJ: I am definitely living out a dream I had since I was young: to minister to people through worship and music. But I always have new dreams and visions that God is putting in my heart. It keeps me on my toes and trusting that He’ll have to see them through because they seem too big to do myself. Which is always the best scenario…just for us to be open vessels for God to use in order to bring people to salvation, healing, deliverance, and wholeness in their lives. He is God, and He loves to work through people like me and you. my producers feel will fit the songs I’ve written, as well as those who can help bring an atmosphere of worship and adoration to God. The experiences I’ve had with my album recordings is that the presence of God gets really strong some times...to the point that I can’t even sing because I have tears rolling down my face. There are some songs that I don’t know exactly what I want them to sound like, but then one of the band guys will start playing something creative and it totally fits and make the song take on its own character and emotion. taking care of your voice, what is your warm-up regimen like, and what steps do you take to keep your vocals in such great shape…maybe on a regular KJ: Jeremiah 29:13 “You will seek basis. How do you prepare before Me and FIND Me when you search for going on stage? Me with all your heart.” KJ: I am a great advocate of doing vocal warm-ups. I wish I could say I do them every day like I’m supposed to. I DO make sure and warm-up before I sing though. I have a few different warm-ups I’ve grown to use over the last few years. They mostly consist of humming, doing lip bubbles and making lots of funny noises to warm myself up (which usually requires hiding somewhere so no one can laugh at me). AH: What has the Lord shown you and impressed on your heart in the last year as you’ve written and recorded this album?
We will go through things all throughout our lives that test our faith, but we can’t be shaken by them. God never said it would be easy, but He did say He will never leave us or forsake us.
We will always walk through trials that can strengthen us, and we need to let them. And in the midst of all of it, we must worship Him and keep Him as Music is so beautiful like that. It can our first love. He’ll show Himself faithful evoke different emotions and feelings…I every time and we’ll find ourselves love for my music to help people draw AH: In addition to the ministry you stronger and more in Love with Him too. closer to God and to feel the nearness have with your music, you’ve added a For more information on Kari of His presence. new dimension in helping to stamp out Jobe, her ministry and her the huge problem of human trafficking, AH: When it comes to vocals, and with “A21.” Can you share about that? music, visit: karijobe.com
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Intro: Am G Am G
Written by Kari Jobe, Leslie Jordan, and David Leonard Chorus: F C G Breathe in F C G Breathe out F You will C G F You will find Him here
Verse 1: Am Come and rest here G C F2 Come and lay your burdens down Am Come and rest here G C F2 There is refuge for you now
Bridge: G C F C/E G I will rest in You
Pre Chorus: F You’ll find His peace C Am And know you’re not alone anymore G He is near F You’ll find His healing C Am You’re heart isn’t shattered anymore G He is here
Outro: F You will find Him C/E C You will find Him Am You will find Him G C You will find Him Am G C
G C/E F here
F here F
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Martin Guitar Review
By Benji Cowart
000-28EC Eric Clapton Signature Martin Acoustic Guitar
A genuine ebony fingerboard features the pre-war Style 28 snowflake pattern in a blond pearl, and Eric Clapton’s signature (one of my favorite guitarists The 000-28EC had me at ‘hello’ ever) is inlaid in mother-of-pearl between when I pulled the case out of the the 19th and 20th frets. Each 000travel box. The case is a work of 28EC bears an interior label, individually art in and of itself. It is form fitting numbered in sequence. and looks as if it came right out of the This guitar has a beautifully bright study of some great classical author and articulate sound that cuts through a whose office is filled with leather band mix without being overly bright. bound books and lush mahogany. The smaller body of the 000-28EC The inside of the case is elegant but is somewhat deceiving because you practical for protecting the guitar. would think that it might lose low end but One other aspect of the interior because of the solid tonewoods used and to note is the aroma inside the Martin X bracing this guitar resonates the case. I don’t know how beautifully with a very articulate low end. to describe it except to say that if you could assign It is also an absolutely amazing guitar to a smell to ‘class’ then the play. The neck is a bit wider (nut width is inside of the Martin case is 13/4”) which gives a feeling of freedom and spaciousness for the fingers and the smell of class. allows cleaner articulation. The smaller When I opened the body is also very comfortable to have case for the first time I on stage because there is much less of was immediately taken the sense of having to ‘reach around’ the by the aesthetic beauty body to play. As I have now played the of the instrument. The 000-28EC in worship scenarios, I have solid Sitka Spruce noticed that I don’t have to think much top and the solid about playing the guitar because it fits so Rosewood sides and naturally. back make for a rich experience to the eye. The Another major plus of the 000-28EC instrument has all of the is the Matrix Infinity pickup that came standards of what makes Martin guitars installed (but is optional). I’m not sure After having a few weeks to live with the Martin 000-28EC and to play it in several different sound scenarios I am convinced that his is the guitar for me. such amazing instruments. if Fishman intentionally designed the Infinity for worship leaders but it seems as if they have. The Infinity comes with three simple control options that allow the player to think along the lines of “scenario choices” versus having to be an expert soundman. The two knobs inside the soundhole consist of a volume and a mid frequency roll off (which is the adjustment that I am always asking my soundman to do for me) allowing me to choose between a “band” context or a ‘guitar/ vocal” context. There is a third control which is basically a switch that allows me a further choice between a flatter mid EQ that will punch through a band or a fuller low end/high end adjustment that works great for those singer/songwriter moments. All in all, the 000-28EC with the Fishman Infinity system is a dream guitar for a worship leader/singer songwriter type. It sounds powerful and gritty when being strummed full as a rhythm instrument but it also articulates beautifully when you are finger picking. It is truly the most appropriately versatile guitar I’ve played for what I need and do as a worship leader. High marks to Martin Guitars for building such an amazing instrument. Retail is $4,349.00 (including the nice hardcase I mentioned) and it streets for around $3,300.00 or so. The Fishman Matrix Infinity pick-up system runs retail $230.00 www.martinguitar.com
INTRODUCING the BOOK SERIES
the art and science of iconic imagery
Photography in Worship
by Mike Overlin is the first in the series.
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JAN/FEB 2012 WORSHIPMUSICIANMAGAZINE.COM
I also used it on a subgroup that had all 8 of my choir mics, as well as the pulpit mic, and both of those setups were equally as stunning. I am literally blown away by this box.
By John Mills
A Couple Great Tech Tools
This month I am going to present two tools every church will want. I know only I’ve dreamed of stuff like this. Need Gain? First off, have you ever wished you could get just a little more gain out of the children’s choir? We, at a recent Christmas production I was doing, I ran into that very problem. The problem is, no matter how cute they are, most of the time they are not very loud. Cute doesn’t translate, when Mom can’t hear them. Enter the Rupert Neve Portico 5045 Primary Source Enhancer. Wow, that’s a mouthful, and the name is almost longer than the users manual, but more on that later.
This device is used as an insert on a channel or a group, and honestly it just gives you more gain before feedback starts ringing. selected 10db of additional gain. Well Now, I’ve used the feedbackI wish I had a busters before, where you have technical reason, to teach it some frequencies, and but all I can say is possibly even set it to “live” . . I was actually able .but they don’t reduce feedback to turn that mic until they hear it… and in my up an additional opinion that is too late. 10db before it would squeal. First of all, this box is a little too Head out to my simple to believe and the manual website if you is literally about 2 paragraphs don’t believe me. long. I cannot even find any I have a video info anywhere on how it actually posted that shows works. Honestly, it just works. how I can literally I have no idea how, and the turn the fader up website and manual are just as 10db more when elusive as to what’s happening this device is in the inside, so I will do my best to chain. I’m having explain how I used it and how it a hard time not worked. If you find any tech mumbo-jumbo about how it’s doing it, please send it to me. wanting a full rack of these. The 5045 has three knobs: Time Constant, Threshold, and Depth.
It goes for about $1,800, but is worth every penny. And it is a two-channel device, so it can be used on your pulpit mics, if inserted on a group) starts ringing. and choir subgroup. So that’s a measly $900 a channel, which is priceless if you In my testing, as mentioned earlier, I was are having feedback. having trouble getting any real gain out How Loud Is It? of the kids. So I called in a last minute favor and had a one of these overnighted Speaking of Priceless . . .How about a in. The following night I put it directly device that can tell everyone who says on the insert of the channel for the Kids it is too loud to go away and let you do Choir, which was a single Shure KSM44. your job? I had already inserted 10 very narrow The software is called TREND, it uses a parametric filters to ring the mic out, and Galaxy CM150 SPL meter and a USB yes, I was running a digital soundboard with plug-ins to be able to do this; but to RS232 interface to figure out just how even with the power of this high-end loud is “too loud.” console I couldn’t get the kids singing The best part of this package is: once above the orchestra. you get it setup, it can be set to email a So I engaged the 5045 and had the report to you, your pastor, and whoever kids sing a little while I set the Threshold. really cares. The report is output in very I went with the manuals suggested setting nice plain English, so even someone who of C for Time Constant, and arbitrarily does not speak “tech” can understand.
“TREND Report: 12 Dec 2011, Average Level 86.3dB (00h 34m 16s). This was UNDER the recommended max level by 3.7dB and is allowed for another 02h 14m total for the day.”
The above is a line from the email that I’d gladly cut and paste to someone complaining about sound levels. You can state that you run a state of the art measurement system used by professionals and here is the report from the service in question. This is obviously not meant to be used as a “told you so,” but if nothing else, it’s a great way to let the senior staff know that all systems are in check and we are not damaging anyone ears.
Digital console folks… no, the 5045 is not available as a plug-in… but you can insert it like an “old school” analog Time Constant: This is basically how long device, because that’s what it is. No it takes to react. In my best guess, this is digital trickery or magic internally… just I personally know the people behind similar to the release on a compressor. good ‘ole analog circuits that are really TREND, and their goal is not to see Threshold: Set this knob so the green frustrating me because I NEED to know how loud we can get it, but to seriously address levels that are too loud and offer “Process Active” LED lights on soft passages. how it works, but I digress. tools to allow us to do this somewhat If you set this too high and the “process” Yamaha has partnered with Rupert light does not light up, it will sound a little to bring this box to market. As of crazy job we have of dealing with like there is a gate on the channel, but I am the writing of this article it was not everyone’s opinions. The software is pretty sure this it is not that simple. Keep listed on Rupert’s website, but can completely customizable, and with a little guidance can even take into effect if your reading. be found by searching http://www. congregation is more white collar or blue YamahaCommercialAudioSystems.com/ Depth: This little magic knob is how much collar. You see “How loud it is” is more more gain you would like before the mic (or for 5045. dependent on the total noise exposure per day for a person than the short time they are in the service. So if you have a blue collar worker congregation for the most part, it stands to reason that they
Continued on page 44
JAN/FEB 2012 WORSHIPMUSICIANMAGAZINE.COM
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MINISTRY + ARTISTRY = PROFITABILITY? CREATING YOUR MAP™
By Scott A. Shuford
Social Media: Where Do I Start?
Previously in this column, we touched on the basics about Social Media. Let’s go a bit deeper into this over the next few columns. Social Media continues to be a hot topic, with lots of questions from the audience as I teach on marketing at events like the Christian Musician Summit and Christian Leadership Alliance. I’ve been involved in social media since the very early days in 2007 when I brought one of the first Christian social media sites into our FrontGate Media group. We have served as Social Media agents for the Barnabas Group, Barbour Publishing, GMC, Kenny Luck at Every Man Ministries/Saddleback Church, the Christian Comic Arts Society and others. I look at Social Media like establishing an embassy in a foreign country. By setting up shop inside one or more of the social media worlds, you are able to reach out to the local inhabitants, start to learn their culture, and establish relationships. LinkedIn has grown increasingly more valuable due to its focus on business connections. With great networking groups and relevant information about each member’s business or ministry ventures, I’m very excited about LinkedIn. Twitter is still interesting to me as a microblog, basically a very short blog, but the newness of Twitter has certainly worn off for me. However, my opinions don’t really matter. What matters is where your fan base lives and which Social Media outlets they value and participate in. If you want to reach me, then Facebook and LinkedIn are mine, but other people love Twitter. they’ve opened up to business pursuits, but as of this point, I haven’t seen anything compellingly new that will make Google+ more than a “me too” add-on to the Google services. That could change.
So where do you start? The answer to that depends on how much interest and ReverbNation (www.ReverbNation. time you have available to devote to the com) and the Christian-owned process and the learning curve involved. Indieheaven (www.Indieheaven.com) are For the social media noob, you may just also excellent resources for musicians. want to start with Facebook. What about Myspace? If you aren’t At a minimum, our FrontGate Media already there, I wouldn’t bother starting team generally works all of our clients there until after you’ve mastered all the in Facebook, Twitter, and LinkedIn. previous networks I just mentioned, Facebook is far and away the single best which is likely to be never. What about Social Media outlet to be involved with. Google+? It might be worthwhile when
As you will continue to hear me repeat, marketing is all about Fan Development: how do I create, grow and maintain relationships with my growing audience or fan base? Social Media is an AMAZING resource that serves you well in this purpose. Social Media makes it possible for you to have constant, immediate, direct interaction between you and your fans, one fan at a time. As artists, never before have we had such It is also a great idea to be posting a far-reaching connection to our fans video on YouTube and reaching out to without standing directly in front of them their audience. In the Christian market, at church or on tour. it is worth being involved with GodTube Send me your Social Media questions for video and probably with the Shoutlife and I’ll try to answer the most popular social network. Technically, these are topics as we explore this topic together. video sharing networks and not purely social networks, but common usages has lumped them into the same group as Facebook and Twitter.
Tune in Creator Worship Online Radio: Teaching & Training Hear it today… Use it tomorrow. WorshipTeamTraining.com Richie Fike (Indie Extreme) Monica Coates Tom Jackson NewReleaseTuesday.com Rick Muchow (Saddleback Church) Tech Talk with Wade Odum and more… Twitter: @CLNetwork Facebook.com/CLNetwork
Scott is excited about the upcoming Biola Media Conference (BiolaMedia.com,) and is a regular speaker at the Christian Musician Summits. He has led classes for us at NAMM as well as teaching on marketing to the Christian Leadership Alliance. Featured in Adweek, Scott is the President of FrontGate Media, the #1 culture-engaged media group reaching the Christian audience (www.FrontGateMedia.com) and the largest in-reach to Church musicians. He is also the co-founder of Creator Leadership Network: online radio for worship leaders (www.CreatorLeadershipNetwork.com). Email your comments or questions to Scott@CreatorLeadershipNetwork.com.
JAN/FEB 2012 WORSHIPMUSICIANMAGAZINE.COM
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By Michael Gonzales
Beyond A Life of Purpose
A bunch of us worship leaders walk into a bar—okay, let’s say a Starbucks. Each one has a lot of catching up to do about what God has been doing in their lives. Richard shares about his wonderful 17 years at his church, even though they have gone through three pastors in recent years. Danny tells us about the time he first introduced congas into the worship team (it used to be a hot topic, but today no one hardly remembers the uproar it created). Jack tells us that he loves his new worship leading position, but neglected to tell us that he took the entire rhythm section from his old church. Each one of us has interesting stories of our journeys, with some episodes exhilarating, and others we’d rather sweep under the rug and forget about. One thing for sure, we were called out of a sense of purpose. We know that we have gifts, those gifts are God-given, and we want to give them back through worship. But I am also thinking about certain indicators that show a gap, a hole, or perhaps even an unfulfilled part of life. Here’s what I am getting at: Even though we are involved in ministry, how can I find my place in God’s kingdom beyond just being a servant? A down the hall. He was essentially listening to two unrelated musical events and melding them together into something that otherwise would never be heard. of your being. Okay, so it may mean tearing down some walls. The 9-5 thing isn’t going to work, not if we are to become new creatures. The becoming, the transforming, is a 24-7 thing. It I think we, as worship leaders, need means that I get excited about God all to keep becoming excellent at being the time. That kind of worship leader is listeners. We need to be more aware of also thinking about injecting enthusiasm people around us. We need to explore into his worship team members. I know if more possibilities of what we can actually I am having a wonderful time in my walk do; not only with the musical worship with Christ, what good does it do to keep parts of our services, but the importance it a secret? of others. Also, I do not want people to follow I went to a service where the worship me. I want them to be transformed and leader went through all the motions. I want to be transformed with them so it He had a great song selection. He becomes a journey shared. Sometimes sang beautifully. He said just the right that shared journey may lead to some words between songs. Was his mission disappointments. Maybe a new song purposeful? I would say, “Yes”, but he you’ve introduced just isn’t reaching walked on stage as if he had just left a the hearts of the people. So cut it from restaurant where the waitress gave him the song list. Why keep trying to force bad service. something merely because you like the melody or a tag line? How can we get beyond the “doing” and get to a better place of “becoming”? In closing, keep the vision on fire. Don’t be charismatic if the glory goes to you. Transformation is not easy. I know a Don’t have a mad bulldog face on stage worship leader who is a great director as if you are protecting something no one of tasks. I would not call him a great else can share. Be a giver . . .always. leader, but rather someone who gets Meet the needs of others . . .especially things done. Remember, a great leader people on your team, as you are able. always has followers. One of the worst Admit when you are wrong. Look for things is to be a worship team member the potential in people and always give and do the things required of you and them a chance. Learn to cut someone hate the process each week. It’s as if the off as a last resort. Make your Christian worship leader has an axe swinging like leadership a part of your Christian-living a pendulum over your head. There is 24/7 (remember, as a believer you are no joy in service there. You say you are never “off the clock”). doing your part for the kingdom, but God doesn’t work that way. One thing is for sure, when things get a little rough for me, I will seek the comfort There is another kind of leader who of God’s spirit, delve into His Word, and needs to go beyond purpose and that is find a person who acts like Christ to give the leader who gets by merely doing the me comfort. I hope you are that person bare minimum. Yes, the work gets done, to others. but there is no real heart or vision to the work. Some leaders use that excuse to say, “Well, I tried giving 110 percent and it nearly ruined my family.” Michael Gonzales, Ph.D. Professor, Biola University email@example.com
If you are a creative, then you have a special operating system. Your senses are heightened and your awareness of smells, or the listening to music may even be finely tuned. I remember I was in a recording studio doing an album and the great jazz bass player (now deceased) Jaco Pastorius called to me as he stood between the studio door and the hallway, “Hey, Mike, come here. Check this out.” I went to see what he was talking about. He said, “Stand here.” I replaced his spot in the doorway. “Do you hear it?” he added, “It’s beautiful!” What he was My advice, without getting burned doing was listening to my mix in Studio B and listening to another mix in Studio out, is to make your job an organic part
JAN/FEB 2012 WORSHIPMUSICIANMAGAZINE.COM
GUITAR GRAB BAG
By Doug Doppler
On the “Get Killer Tone: In Church” DVD from the Conference in a Box series, I outlined what I called the Six Zones of Sound. In this article I’m going to again address some of the challenges and solutions associated with getting great guitar sounds happening in each of those directly at your head so you know what zones. the mic is hearing. In turn, if you use a Zone One refers to the area right monitor, keep that focused on-axis with around our ears. For those of us who your head, both for accuracy and to keep play with in-ear monitoring systems this your overall volume down. is fraught with a number of inherent challenges. I love Aviom, but frankly, when the EQ is set flat, then your guitar sounds, well . . .flat. Chances are you spent more on your most recent pedal than your ear buds, so if it looks like you’re going to be using in-ears for some time, invest in a great pair. Shure is a great place to start, and I’d suggest getting one of the two-way systems for some real definition in the bottom end. If you have the selfish pleasure of using “live” monitors, if at all possible make sure to use one with a 12” woofer to get an accurate sense of what’s happening on the bottom end. In-ears can imply a quiet stage, but does not necessarily mean you have to go direct, although units like the Line 6 POD HD500 do this exceptionally well. Cornerstone Fellowship is a fairly large venue, and I have a 4x12 cabinet in an isolation box behind the curtain that is loud enough to move some air and make the mics jump on louder notes. Mics sense vibration and the greater the dynamic range, the more that the mic can convey that. I use a liberal amount of compression to keep boundaries on my overall volume, but there is so much to be said about using a mic. Focusing a Shure SM57 at the edge of the dust cap within in inch or so of the grille results in a warm tone that is fat on the bottom end thanks to the proximity effect of having the mic so close to the cabinet. This will be help even at lower volumes, and is a great way to make a small amp sound big. Make sure that when you dial your tone in, you do so with the speaker pointed Zone Two is the area where you stand. Keep in mind that if you monitor your guitar via a wedge or your amp/ cabinet, that it’s super important to know what is happening on-axis with the speakers - your ears aren’t on the back of your legs. Zone Three is the where the other musicians are playing. These are the people you want to keep off-axis of your gear so they can better hear themselves. Trained vocalists often look for their note from the keys, and getting in the way of that is bad for their pitch and may prevent you from getting a good blend if you need some of your stage volume FOH. Zone Four is the back wall. One Sunday I errantly had my cabinet pointed directly at the Senior Pastor and was promptly asked to turn down. If you use speakers not enclosed in an isolation box - especially in combination with a monitor, face the cabinet towards the back wall. It’s a great way to disperse your sound if you can find the right balance between you and the P.A.
strong enough terms to know your room and how your guitar sounds in it. FOH will tell you things about your guitar tone that you’ll never know in Zone One or Two. Zone Six is at the mixing desk. Lots of big churches have the console placed at a poor location in the room (or in the rafters), so it means that your sound team is constantly guessing. This again is a great application for a wireless system. Go to them and hear what they hear, and in turn walk with them around the venue. Believe it or not, guitar is not their biggest priority - getting a great mix is. So, if you can help chisel your tone into a spot that fits with the rest of the band and sounds great throughout the venue, your sound team will WANT to turn you up. If you can’t afford an expensive compressor, the MXR Dyna Comp is a genius way to tame your transients.
A couple of things to keep in mind in closing. I LOVE delay and reverb, BUT keep in mind that your room has a reverb of it’s own. Big rooms with parallel surfaces have what are called “standing waves”, where a wash of sound bounces back and forth. These standing waves respond to certain frequencies in the room, and what sounds great in Zone One might be what’s making your guitar sound like mud FOH. Know your room, Zone Five is where the congregation and build your tones around it. Your lives. Another great Line 6 product is congregation will appreciate it. the G50 Wireless, in this case for use as a tool to “be” where your sound is. I did a clinic at a Church here in the San Francisco Bay Area and walked Doug Doppler is signed to the guitarists around the room with my Steve Vai’s Favored Nations wireless, and they were SHOCKED at label and is currently in how much the volume and tone changed production on the Get Killer Tone DVD series. He and his throughout the room. I cannot suggest in wife Melissa live to serve the Kingdom and are members of Cornerstone Fellowship in the San Francisco Bay Area.
JAN/FEB 2012 WORSHIPMUSICIANMAGAZINE.COM
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By Tom Lane
We want to be busy living for God’s kingdom and doing good works for sure, but Jesus drew a clear line between being busy about what we think is important versus what really is. Resting is an important key, both physically and spiritually. We can be so worked up over the work we feel called to do that we stress out far more than the Father ever intended. We can also inadvertently abuse others by expecting them to operate at our speed, or with the same amount of devotion. As we step into 2012, avoiding burnout should be high on our list of priorities. Most worship teams are comprised of volunteers that are working folks, so it’s a bit like adding another part time job to an already busy life. It’s every team member’s responsibility to weigh the costs involved and to set their own healthy boundaries. It’s the ministry’s responsibility to put the relationships ahead of the program and guard against burning their people out. had an inside view of church and ministry. One thing it’s made me is passionate about is doing ministry in a healthy and godly way, not simply a traditional or cultural way. Just because what we’ve done has always worked doesn’t mean we should keep doing it the same way. It’s healthy to give and to serve; it’s God’s idea . . . but so is rest! By scheduling in breaks for the team we’re not only helping them maintain healthiness, we’re making a way for others to step up. More importantly still, we are learning together to wait on the Lord. Part of being on the platform is modeling, as we do help teach the congregation how to engage and worship. We don’t want to communicate that it’s only possible to enter in when certain people are on the stage or the production is amazing. By creating times of guest to infuse and inspire them with passion and hope. 2. Re-communicate the vision and expectation. We will spare a lot of hurt feelings and false expectations by not just assuming everyone knows the plan. It’s helpful for everyone to be reminded of where we’re going, what we’re doing, and why we’re doing it. It’s important for church leadership to be on the same page first, and then worship leaders can help guide the team. 3. Commit to invest in the team relationships. Better friends make better teams! Be intentional about relationships and work through the hard stuff with grace and truth. Don’t let problems fester! Involve the member’s families throughout the year somehow. Look out for one another’s best interest and be understanding of other’s situations and circumstances. 4. Schedule in breaks for the year. To help the team remain engaged and fed, avoid over-scheduling. If someone needs to take a sabbatical, encourage it . . .even if it leaves you without a replacement for a season. Invite a guest leader or team in, both to give the team a rest and to learn from. 5. Consider the seasons. Life is comprised of seasons and seasons don’t last forever, they change. It is important to evaluate the current one as we make commitments to the program and the team. Set boundaries in order to stay healthy all the way around. If we say yes to something, it’s better that we’ve counted all the costs first and keep to our word. Know when it’s time to say NO and to rest, then be willing to do it!
Selah for the team, we’re communicating that engagement with God through worship is not dependant If the aim is to worship God as upon props of any kind. True worshippers authentically and genuinely as possible, can get there despite who’s leading, or then we have to start with honesty. Is what whether or not they’re on the platform we’re doing being done at the cost of themselves. If the only time we can running others into the ground? As hard worship is when it’s all to our liking, then as it may be for some to even think about we need a heart tweak! giving the team the week or month off and just going with a single leader or a scaled down team, it might actually Fostering a healthy team and revitalize your worship and your team. Changing things up is good and allows worship environment: for growth. Just pushing “pause” on the 1. Reinvigorate your band/team. big production of worship alone helps Injecting new life is good! Find creative both the congregation and the leadership ways to do it throughout the year. Even rediscover what it’s really about. It’s a the small things go a long way: Plan a good litmus test for any church. retreat; meet once a quarter to share new Being raised the son of a minister of songs and hear your team’s thoughts on music, and in the church my entire life, I’ve worship and ministry; bring in special
Nashville, TN is home for Tom Lane though he is involved in ministry and music around the world. As a singer, songwriter and guitar player, Tom has been teamed with many worship leaders and artists. He continues to record his own work, lead worship, and writes regularly for various worship publications worldwide.
JAN/FEB 2012 WORSHIPMUSICIANMAGAZINE.COM
By Greg Sisley
Creating a New Lighting Design
Hi all! Hope you had a great Holiday season. The last couple months have been an exciting blur for me, starting with the Christian Musician Summit Northwest in early November. CMS was fantastic this year; the music, teaching, and overall vibe were the best I can remember. And of course, there was that awesome light show :). with lighting angles, or might steer your decisions about lighting locations. Now that you have a floor plan and a ceiling plan (which can be combined if you are careful), the last piece of the puzzle is a side view, or elevation plan. This is in effect a “cutaway” view from the perspective of someone on the side of the auditorium looking toward the center. This plan should show the ceiling, its height, the floor, stage, and all possible lighting locations. It also needs to be in scale. As a reminder, you need a floor plan, a ceiling plan, and an elevation plan, all drawn to scale. Now that we have our drawings, we can move to answering the second question: What needs to be lighted?
Improving Musicianship | Inspiring Talent
This January at my home church, we are diving right into a fully-staged musical that will occupy our main auditorium for the next two months. After the initial production meetings, as I sat down to work out the lighting plot for the show, it occurred to me that it might be helpful to share with you the steps I take when doing a new lighting design. Whether it’s an event like the Christian Musician Elements Summit, Sunday services, or a dramatic production . . .the approach and goals Basically, a lighting element is an event, for lighting design have a lot in common. object, person, or area (zone) that needs Let’s take a look. to be lighted. These can range from the position that the lead singer occupies, Plans to a cross on the wall, to a curtain I know I say it often, but once more receiving a color wash, to a baptistry, to can’t hurt. Make a lighting plan. The a person who gives the announcements, exercise of developing a plan for your to the congregation itself. I usually write lighting will involve asking and answering out a list of everything in the room (and many questions that are crucial to an everyone) that needs lighting during a effective lighting design. The resources show (or worship service). and steps you will need to take are Let’s work through an example: One simple and repetitive, and while it isn’t rocket science, there are a lot of variables lighting cue you want is for a solo vocalist to consider. Time spent beforehand will standing center stage and you want to light them from the front. Let’s work out result in less stress later. finding a good location to place our Part one of developing your lighting fixtures. design is to develop a quality set of plans Remember that you are working in or drawings of the space you are working in. Start with a decent scale floor plan two dimensions: from above with a of the room. I usually include features birds-eye view, which we will call the like rear and side walls, stairs, the sides horizontal dimension, and a second view of the stage as it transitions to the walls, from the side, which we call the vertical and other features (baptistry, etc.). The dimension. Start by choosing a horizontal idea is to have a scale plan that includes angle(s). In this case you have decided all-important physical features of the area the person should be lit from the front by two fixtures: one at 45° off center, and you need to light. one at 27° off center. On your floor plan, The second “look” at the room I use is a mark an ‘X’ where the person stands, and ceiling plan. This is a ‘top-down” look at draw a line along your horizontal angle. the room like a floor plan, but only goes You are creating a lighting “zone” on the as deep as the ceiling. Be sure it includes stage. You can now draw a line (using all of your lighting locations; trusses, bars, a protractor) to find the proper angles etc., and also shows the location of air- for your lighting locations. Where those conditioning ducts, all permanent lighting lines intersect your lighting bar is where fixtures (both flush-mount and suspended), the fixtures will be installed. electrical conduit, projectors, and Quite often, however, our lighting bars anything else that might possibly interfere are located improperly. Sometimes they
Continued on page 44
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WORSHIPMUSICIANMAGAZINE.COM JAN/FEB 2012
By Craig Kelly
Ten Tips for Camera Operators in a Multi-Camera Situation
For the tenth anniversary edition of this magazine, first of all I would like to offer my congratulations to Bruce, Matt, and their team, as well offer a “Thank You!” for the support and confidence they offer me. I thought I’d make a list of ten tips for camera operators in a multi-camera situation that would be helpful to their director – whether they are working as a volunteer at a church or as a paid camera operator on the biggest concert of the season. I don’t know if I would say these are in order of importance, but here they are; 1) Be early - be early to arrive, be early to get on headsets for systems check, and be early for the service, event, or performance. If you are ready to go before your actual required time, it will offer the director the chance to interact with you or maybe help them to get something accomplished. 2) Practice - warm-up, rehearse, and put yourself and your camera into show-mode. The last thing you want to do is to not understand why your camera won’t pan smoothly during the event you are working on. 3) Initiate – Even if you are not asked, go to your camera position, uncap the lens, uncover it if needed, turn it on (if that’s appropriate with your facility) the first thing when you get to the venue. This will help if the engineer/VO wants to fire up cameras to let them warm up. handles, controls, intercom, program afraid to offer a shot that is creative, audio, pan head, tripod, and platform. unusual, bold, or even fun. (just make sure Need to write it down? – It’s OK. it’s not dangerous or out of place for your production) 5) Practice - warm-up, rehearse and put yourself and your camera into 10) It’s the director’s show show-mode. Does this sound like number – Even if you are the head of the 2? department, leader of the band, the big cheese or even the president of the 6) Be there – once you check in men’s group. In this instance, the director on camera, stay on headset until you are is in charge. Often times, a director is given the OK to leave – even if you feel someone who has come up through the like nothing is going on. If you need to crew and may be just filling in or has leave your position, just a quick “Camera earned a new position. It is very important three is leaving for a few minutes” is to remember that they need to be lifted up greatly appreciated and might be perfect with support, respect, and involvement by timing if the director is just about to start everyone on the crew. production using your camera shot. OK, that’s it for my Tenth Anniversary 7) Explore – as part of your Television Tips. I have more, but I’ll warm-up activities, offer up a variety of have to add them as part of the 15th shots to show the director what you see. Anniversary edition. Although most directors have a safe, normal routine and pattern of calling a Keep reading this magazine and show, maybe you will spur them on to a supporting a great resource. As always, moment of crazy creativity. if you want more insiders’ tips for camera operators, please check out my blog 8) Engage – engage into the for new camera operators at www. process. Don’t make a director beg for craigjkelly.com or email me at craig@ every shot. If you know that the next shot craigjkelly.com for you, after the medium wide-shot of the piano, will be the tight close-up of Television director Craig the flowers, get it as soon as your shot is Kelly’s career has included cleared. Don’t make the director ask for over 3,500 live shows, events it – just get there. Of course, this takes and concerts in broadcasting, confidence and hopefully a director that corporate television, events and sports production since 1977. doesn’t need to control every aspect of He is also involved in ministry based events every element in the production. and concerts, and has produced or directed
9) Be Brave – Boldness as a camera operator does not have to be 4) Adjust – Make sure that reckless. It means having the confidence everything about your setup is ready. in what you do and what your skills are. It Have a mental checklist that you use also means knowing what is acceptable every time you step up to your camera. in any given production scenario. This Perhaps you can start with the front of the is probably geared more for handheld lens, work your way to the viewfinder, operators or jib operators, but don’t be
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 firstname.lastname@example.org
JAN/FEB 2012 WORSHIPMUSICIANMAGAZINE.COM
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Never before has a personal mixer given you this much control and exibility over your monitor mix. Each musician can have their own unique arrangement of 16 unique stereo groups chosen from 40 common sources. Adjust mix using level, pan, 3-band EQ and solo. Enhance the auditory experience using built-in reverb and an ambient mic. Expand your options with multiple headphones jacks, separate balanced outputs and auxiliary input.
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Check out Drew’s interview at www.rolandsystemsgroup.com/drew
Digital Console Connection
S-MADI REAC to MADI Bridge Connect the M-48 Personal Mixing System to any popular brand of digital console using the S-MADI REAC to MADI Bridge. By using a digital console’s MADI interface (sometimes an optional card), you can connect to the S-MADI and send up to 40 sources to the M-48 mixers. The S-MADI includes a built-in split port for connecting a local M-48 so the console operator can easily monitor or assist any musician’s position. Alternatively use the split port to send 40 channels to a multi-channel recording solution such as the SONAR REAC Recording System.
For more information on the V-Mixing System visit www.rolandsystemsgroup.com/vmix
FROM THE DRUMMER’S PERSPECTIVE
Continued from page 10 He’s the one who deposited talent and beauty need to know the Lord fights these battles for us into His creation. Sure, there is brokenness, but and with us. Drummers tend to be the strong, silent type… But we are often the musical and there is much more beauty. Thank You, Lord! spiritual pillars of our teams. Our bands not only Besides listening to drum ideas I find that I’m need us to “rock,” but they also need us to be a also inspired by great singers, guitar players, “rock” – little “r.” So stand strong and press on bass players etc. etc. How drummers interact in your journey with Jesus – “THE ROCK.” May with other players is vitally important. Because He be your strength and your song! drummers are the foundation of the band you have to have really “big ears” musically speaking. I always listen to what I play on Blessings, drums as it relates to everything else going on musically. How does it work together? And Carl this is also how I listen to music of every kind. Whether it’s jazz, rock, pop, or classical, there’s a “oneness” that has to happen for it to connect to the listener. As you fight your own battles in your journey as a drummer remember the Lord will never leave or forsake you. REALLY! I’m not being trite or cheeky here… this is serious business, and I know the struggles. Musicians and artists are very emotional people. We also tend to be very insecure or melancholic. I really believe the arts are meant to be an expression of the Lord’s creativity in His people, and that’s why it’s such a battlefield. The enemy hates us. So we
Carl Albrecht has been a professional drummer & percussionist for over 25 years. He has played on over 70 Integrity Music projects; Maranatha Praise Band recordings & numerous other Christian, Pop, Country, Jazz & commercial projects. He currently lives in Nashville doing recording sessions, producing, writing and continuing to do various tours & seminar events. Visit his website: www. carlalbrecht.com or send an e-mail to: lmalbrecht@ aol.com.
JAN/FEB 2012 WORSHIPMUSICIANMAGAZINE.COM
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Continued from page 30 are in front of somewhat loud machines all day, and their ears’ tolerance for more “loud sound” is less compared to an office worker who quietly sits in an office all day and answers emails. Ok here’s the catch: it’s not cheap. But can you honestly put a price on having true, accurate measurements, and emailable reports that can keep you out of the doghouse? I couldn’t, so I got the Pro Version and have never looked back. At the end of every service and/or concert I do, I can look at my report and KNOW if I was responsible with the gift God has given me to take care of others’ ears. TREND Standard $499, TREND Pro $899. TREND Standard will work great for most people, especially if you want a speedometer that can keep e v e r y o n e honest. If you are running more contemporary or concert levels, then I would invest in TREND Pro. The Pro version has the ability to guide you to landing at a certain safe exposure by the end of the service. For all you Windows dweebs out there… sorry this one is for Mac only, but the good news is you now have a reason to get on the bandwagon. Head out to http://howloudisit.com to read more about this great piece of software. Even if you cannot afford this setup, go get a cheap radio shack meter and at least educate yourself about what levels you are running. Do not get an app for your iPhone, because unless you have a real SPL Meter to use to calibrate your iPhone you might be as much as 6 dB off, which is twice as loud or quiet, depending on your phone. Also, checkout http://howloudisit.com/ trend/FAQ.html where it outlines some very eye opening info about the subject of “loudness”. Thanks, John
John is currently the Audio Crew Chief & System Engineer for the Kenny Chesney Tour. Check out www.JohnDMills.com for more about the giant sound system he has out and cool pics from the road. www.JohnDMills.com www.TechTraining101.com
Continued from page 7 priced right. I bought that guitar! There was something about that act. It was like I was saying to myself, “Everything will be OK… don’t worry. Here is an instrument to enjoy and play your way through this time of sorrow and uncertainty”. I had to leave for the East Coast to attend the Creation East Festival, and all of this was still hanging on me. I’m not sure at what point, but somewhere on the trip there I felt the Lord was saying to me not to worry about it anymore… that I knew how to publish a magazine (I was at the five year mark then with Christian Musician magazine) and that I should just carry on with the plan and publish it myself. Did I really need partners to accomplish this? I took this to heart. But I didn’t have any writers whatsoever. Paul Baloche was at the festival, and I went to him and told him the story of how things had bounced. He listened to me and said, “Bruce, I’ll write for your magazine”. That one commitment from a friend who cared gave me confidence (Paul wrote for several years for us and still drops in from time to time). On Paul’s recommendation I approached Carl Albrecht (Paul’s drummer) too, and Carl has been faithfully writing for us for every issue now. With each new columnist I gathered steam, and before you know it I had several talented writers on board and they were catching the vision to bring truly practical help to worship teams. I got to work - selling the ads and preparing for the first magazine. On the cover of the first issue was the David Crowder Band, and from that first one on it was a success on several levels. I was (and still am) so grateful to the Lord, and so thankful that I had not just unraveled and gave up when all looked lost. Having two publications is really a blast, and they do compliment each other and give each other room to be unique in what they present. As this celebratory year unveils we have some neat things planned for the magazine and for you, the reader. Thank you for being a part of the community that is Worship Musician! magazine. We couldn’t do this without you! Lord willing, I’ll write another editor’s piece one day entitled, “Twenty Years After”. Lord Bless Ya! Bruce & Judy Continued from page 39
are too close to the stage and fixtures mounted there have too “steep” an angle – resulting in shadows. Perhaps your lighting bars are too far away from the stage, and the lighting angle is too shallow – resulting in the light “getting in peoples’ eyes”. To find the proper distance from the stage for the lighting location, simply draw a line on your “side” view or vertical dimension, at 45° up toward the ceiling from the person’s head. This means there is a 45-degree angle between the line you are now drawing, and a line parallel to the floor but at the person’s head height. Your fixture will be along that line at ceiling height. If you have details for your fixture, such as its beam angle, and you could actually draw the light emerging from the fixture, you will see from the drawing just how wide an area the light will hit. Based on this you might want to change your choice of fixture, lensing, or lighting angle, or decide you want to control the light with barn doors, and so on. Now go back to your floor plan, and find the point at which the horizontal line(s) intersect with the vertical. That is where the fixture should be hung. As you repeat this process for all the lighting elements and fixtures, carefully draw each fixture on your ceiling plan. Try to keep your drawings simple. You will end up with a top-down view of your fixture layout, and it can get crowded and hard to read quickly, so keep all the information relevant. Again, always try to keep various drawings in the same scale. It is much easier to understand and work between drawings when they are similar to each other. Fixtures should also be drawn to scale. Drawing the fixture to scale protects you from planning to hang too many lights on a pipe where it won’t be physically possible to place them. While we’ve only touched on drawings and fixture location here, there are other factors to consider as well in a lighting design: available power, available dimming, and available control capability among them. It is worth the effort to think through each area, and it can be a fun, creative process. You will be able to maximize your system’s capability and be able to provide creative and flexible lighting when you take the time to plan for it. I would be happy to help you! Email me at email@example.com
Greg Sisley is on the pastoral staff at Faith Church in Kent, WA, where he serves as executive pastor and production lead. He consults in the area of stage and architectural lighting, and is a partner @ Avs4Less.com.
JAN/FEB 2012 WORSHIPMUSICIANMAGAZINE.COM
envision THe fuTure
©2012 Avedis Zildjian Company
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Cymbal technology has caught up with edrum technology. Envision the future with the AE Cymbal System and the AE Rack System.
By Martin Stillion
Breaking Down a Tune
At various times during this column’s history, I’ve discussed several exercises that were more or less forced upon me by teachers in my youth: in particular, scales, arpeggios, and something called “broken thirds.” I brought all of them up in a recent workshop at the Christian Musician Summit, and got the inevitable “Why do we need to know this?” response. The answer I gave is in Figure 1. Of course my students recognized it as the opening bars of Mozart’s Eine Kleine Nachtmusik, but I told them it was nothing more than a G major arpeggio followed by a D7 arpeggio. Actually, both of us were correct. My point, simply, is that scales, arpeggios, and broken intervals are the building blocks of melody, and the reason for learning them is to make it easier to improvise your own melodies (and to learn other composers’ tunes). I’ve made that point in this column before, but I hadn’t demonstrated it until now. But now that I’m on the subject, I might as well go a little more in depth. Figure 2 shows us a more complex melody I’ve subjected to the same analysis. This is the first few bars of the violin obbligato part from J. S. Bach’s Jesu, Joy of Man’s Desiring, and it should be as familiar as the Mozart (particularly if you’ve been to a lot of weddings). I’ve broken down the tune into 15 sections (without bothering to include bars 8 and 9, since they’re the same as bars 4 and 5) and shown below how each section corresponds to a particular exercise (some sections overlap by one note): A. Scale. B. Broken thirds. C. G arpeggio (ascending fourth). D. Scale. E. G arpeggio. F. Scale. G. G arpeggio (descending third). H. Scale. I. D7 arpeggio. J. Scale. K. Em7 arpeggio. L. Scale. M. G arpeggio (descending fourth).
Fig. 1. Mozart, Eine Kleine Nachtmusik
N. Scale. O. G arpeggio. And that, as the saying goes, is that. I could go on, but I think you get the point. Of course, it’s not only classical music that can be approached this way. Exercises can seem dry, but once you understand them, you can use this kind of analysis to help you break down any tune. Have fun!
Fig. 2. Bach, Jesu, Joy of Man's Desiring E C A
F K M
B H J
Multi-instrumentalist Martin Stillion, a 19-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.
JAN/FEB 2012 WORSHIPMUSICIANMAGAZINE.COM
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By Chuck Bradley
Ask anyone for their thoughts on the weak link in electronic drums and they always, 100% of the time, give the same answer. “It’s the cymbals!” The reasons may vary: the sound, the feel, the look . . .but it is always the cymbals. Until now, electronic cymbal pads didn’t sound, look, or play, like real cymbals. Although some companies have made strides with multi-strike zones and multitriggering, they were still lacking. There are two words for the playability and look . . .Ugh! And Ugly! Ugh for the playability, and ugly for the look. Zildjian has gone a long way to remedy these problems with the latest entry into their Gen 16 line, the AE (Acoustic Electric) Cymbal System. While other cymbal systems use an electronic trigger mounted to a pad to trigger a sampled sound, the AE Cymbal System uses a “real” cymbal that has been ingeniously modified to play and sound like a normal cymbal with only about 30% of the volume. The sound is captured using a mini, dual-microphone pickup and then enhanced using a digital processing unit. The result is something never seen in digital cymbals, a cymbal you will want to play and use! I was really excited to get my hands on these cymbals. I had seen them about a year earlier when Zildjian was at the NAMM show but hadn’t played them because of the high traffic in their booth. I had a year to wonder what all the buzz was about. Once I opened the box it didn’t take long to find out. I was immediately amazed at the playability of these cymbals. Crash the edge, ride the bow with the stick tip, ride the bell with the stick shoulder, any technique you currently use on the cymbals you have, you can use with success on these. Everything about these cymbals plays like “real” cymbals. Hold on! They are “real” cymbals. So far, so good, and I didn’t even have the processing unit hooked up! As for the looks, you won’t be embarrassed with these on your kit. Because they are not a trigger but a true cymbal, they look as if belong with a drum kit and not like a plastic toy. Part of the process to reduce the cymbal volume entails drilling several thousand small holes into the metal used. The result gives a very nouveau industrial-looking piece of chrome mesh that has been stamped and lathed into a normal cymbal shape. To add
to the edginess of the look, the pickups There is a slight phasing problem that have Ice Blue LED light rings that can be was heard when the cymbals were switched on or off at the processing unit played alone, but it was easily lost in for a great effect. the mix at volume. Zildjian told me they Zildjian had sent me their AE 380 were aware of this and are modifying the boxed set which included a set of 13” AE presets to help eliminate it. Hats, a 16” AE Crash, a 18” AE Ride, three mini, dual-microphone pickups, the AE Digital Cymbal Processor unit and a special AE 5 Channel Cable Snake. The set-up is simple and straightforward. If you can hang a cymbal on a stand and plug in a 1/8” plug you should be able to set this up. The pick-up assemblies set on standard cymbal stands replacing the existing felts and washers. I was up and running with the hats and two cymbals in 5 minutes.
Having tried the system live with pretty good success, I wanted to check them out in a studio setting. I enlisted the help of a couple of my Nashville drumming brothers who are two of the most recorded drummers around. The phasing problem had made me a little leery, but generally they performed as they had live, with one exception. The mic pickups captured bleed from the drums and fed it back into the cymbal track of the recording. You could most likely get by with this on The five channel processing unit is simple home studio recording and some demo and easy to understand without instruction. sessions, but on master sessions and other The back panel has 5 “special” 1/8” sessions where you want higher quality, cymbal inputs for the supplied snake this would be a problem. (which could have been a little longer for Overall, the system performed very well my kits), L/R ¼” main outputs and L/R and is the best alternative to “real” cymbals ¼”inputs for an electronic drum kit. This on the market. Personally, I would have allows you to mix your kit pads with the liked more control, mainly over tone and cymbals through the headphone jack, wave shape, but for most drummers, making a great, super-quiet practice kit. especially volunteer worship drummers, Each channel has buttons to scroll up and this is an excellent replacement for your down through the 20 factory presets, L-R current cymbals, electronic or traditional pan and channel volume. There is also a acoustic. The unit is easy to see in live USB input for future access and updates. venues and it is easy to change settings Within the first couple of weeks of their quickly. The presets sound great and are arrival I was able to use the system live varied enough for most tones and timbres in venues ranging from 150 seat clubs expected from a worship drummer. If to 250 seat sanctuaries, and 1800- you are looking for a simple, easy to use 3200 seat mega-churches, all with good unit, this is for you. I can’t wait to see success. In the smaller rooms I was able what Zildjian has up their sleeve next! to play as hard as I normally do while still keeping the stage volume to a low level. In the larger rooms, the sound engineers were able to get the volume needed both on stage and in the FOH just as they normally would do with any other instrument. I have played in 100’s of “House of Worship” venues and this product will make a lot of blue haired little ladies (including my mom) very happy!
Chuck Bradley is a highly sought after studio and touring drummer and percussionist who splits time between Nashville and Atlanta. He has played with scores of different artists including Dove Award winners Aaron Schust, Laura Story, and Ginny Owens and currently is the drummer for CCM artist Brent Weber. Contact Chuck at firstname.lastname@example.org
JAN/FEB 2012 WORSHIPMUSICIANMAGAZINE.COM
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A FEW MOMENTS WITH…
By Tom Kraeuter
Worship Leaders & Pride
It’s a common question. Actually, I hear a channel through which the glory flows it quite frequently. “How do I handle it to the Lord. when people compliment me for leading Second, don’t do the nice, polite, worship well?” pseudo-Christian response: “Oh, it wasn’t Anyone who has been a worship really me… it was God.” No, the truth is leader for more than a month has likely that it was you. Certainly God may have encountered this scenario. It’s nice to worked through your gifts and abilities, be complimented for a job well done; but it was still you on that platform – your yet at the same time there is a powerful words, your voice – leading the people. temptation toward pride. We appreciate Such a statement – “It wasn’t really me” – the encouragement, but we also know is a nice attempt to deflect the glory, but it where it can lead if we’re not careful, is simply not true. right? So, what to do? So, if we are not to retain the glory for When I am asked this question, I can ourselves, but we also shouldn’t deny our relate to it very well. I was the primary role in what happened, then what do we worship leader at our church for fourteen do? Good question. I’m glad you asked. years. After the first year or so – during When people ask me questions like which time I was still trying to figure out what I was doing – I heard such this at our Worship Seminars, I put it into compliments on a regular basis. Usually the context of me as a teacher that day. at least once a week someone would When the seminar is over, I nearly always say, “Great worship today!” Or, “Thanks hear lots of compliments about what the for taking us to the throne.” Or the really teaching has meant for the person. Some heady one, “I’m glad you’re our worship declare that their worship life will never be leader.” Consistently hearing such the same again. Others are so thankful for accolades can have a long-term effect far the balanced, biblical approach. On and below what the person who spoke ever on, accolade piled on top of accolade. intended. When I hear such comments, I smile For me, though, the problem has been and thank the person. That’s it. I don’t compounded since I left the position of deny my role in what just happened, yet, worship leader. I have learned enough at the same time, I have a keen inner skills to do a good job of leading people awareness that I am simply operating in in worship. Yet my true area of gifting and the giftedness given me by God. calling is teaching. That’s where I really So I tell the person who has asked excel. So guess what? I get even more me the “what-do-I-do-with-compliments” compliments now. question that what they don’t see is what So when worship leaders ask me happens later. When I go back to my about how to handle the kind comments hotel room, I generally fall on my knees they receive, I understand the temptation and thank God for allowing me to be a toward pride that can occur as a result. vessel for His honor. I take all that glory Because of this, I explain as simply as that was handed to me, and I turn it all over to Him. I can’t hang onto it. It possible how to handle the situation. rightfully belongs to God. First, I am firmly convinced that God Now let me continue with something I did not design us to retain glory in ourselves. Rather, we are to reflect glory don’t generally say in that seminar setting. to Him. If we hang on to flattering remarks The truth is that I love being asked such from people, we are keeping the glory a question and I thoroughly enjoy giving for ourselves. Instead, we should be only the answer you just read. Why? Because it makes me sound like a really godly and humble guy. I like for people to think of me in those terms. Honestly, though, I know my own sinful nature far too well. I’m not really as humble and godly as I appear. The prophet Jeremiah said, “The heart is deceitful above all things, and desperately sick; who can understand it?” (Jeremiah 17:9) I’m guessing that if you’ve been a Christian for more than five years – perhaps even a shorter time – then you know what I’m talking about. There is a tendency within us toward pride. We like to be thought of well. We want people to see us as better than we really are. The answer to this dilemma is to once again fall on His grace. I need to keep going back to the cross, and to over and over remind myself of the truth about what Jesus did for me. His suffering, death, and resurrection have brought me into right relationship with God. No matter what anyone else thinks, says, or does; I am already accepted by God. When I get that perspective, then the tendency to try to make myself look good is diminished. Don’t misunderstand; the temptation is not completely eradicated. But when my eyes are on the cross, the temptation is certainly weakened. Why? Because what God thinks of me – and I know from His Word that He loves me intensely – is far more important than what anyone else thinks. Tom Kraeuter would appreciate it if you didn’t send him any accolades about this article; it might go to his head. Tom’s Worship Seminars are held all across North America. For more information on Tom Kraeuter, his books or his Worship Seminars, contact Training Resources, 65 Shepherd’s Way, Hillsboro, MO 63050, 636-789-4522, email@example.com, or www.WorshipSeminar. com
JAN/FEB 2012 WORSHIPMUSICIANMAGAZINE.COM
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