Improving Musicianship | Inspiring Talent
Jesus Music Again (and much more)
Bob Bennett 50 Great Gifts for Musicians
Selective Hearing
NOV/DEC 2012 Volume 17, Issue 6 11
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74470 95962
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US $5.95 Can $6.95
Ashley Cleveland • Andrew Osenga • Charlie Peacock • StompTown Revival • Gabriel Wilson • Brandon Heath • Third Day • The Sunrise “Developing Your Inner Clock” by Norm Stockton
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Synth Sense by Erick Hailstone
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Finding the Right Music Gear for Your Church Just Got Easier!
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The Best Technology for Worship Lincoln’s Go-to Gear:
Real Live: Re
practicals as well — the musicianship. I’ve said this for years, that all really good gear does is better re-create reality.”
LLincoln Brewster
This approach applies to recording as well as live sound in the church. “People say, ‘If I could just get Pro Tools, then I can make a record.’ Well, no. Pro Tools is just going to better reveal what you have. Pro Tools doesn’t make records; Pro Tools ALLOWS people to make records.” He adds, “We’ve got to be careful of the “golden hammer” syndrome. We don’t worship the tools. They’re just tools. We commit to being smart with what tools we need, how much we need to spend, be frugal, make wise choices, and then get after the task at hand and focus on doing a great job.”
on Music Technology in Modern Worship You would be hard pressed to name a modern worship leader and musician who has better utilized music technology than Lincoln Brewster. Renowned both for his songwriting chops and his virtuosic guitar skills, Lincoln makes the most of his cutting-edge music gear — while sharing the message with heart, grace, and humanity. Currently serving as the worship arts pastor for Bayside Church in Granite Bay, CA, Lincoln also continues to tour nationally. He has released seven full-length albums since 1999, including his acclaimed latest, Real Life. A new Christmas album is due out this year, and plans are in the works for a live album. It goes without saying that he has come a long way.
Lincoln’s own setup pairs the latest technologies with classic tones. “I’ve got two Custom Shop Strats that are sort of based around ’57s.” Rather than relying upon miked amplifiers onstage, Lincoln opts to run his POD HD 500 rig direct. “Most of the dates I do on the road are fly dates; we’ve got to fly just about everywhere we go. I want something that sounds great, that feels great to play, and will give me consistency every night. For me, that means being able to fly with it. So, for me, that’s where it [using the POD] started. I recorded some tracks on my very first album with Line 6’s Amp Farm, and I remember thinking, ‘Gosh, it’d be great if I could take this on the road.’ And then the POD came out. I started using it, and, back then, running direct was blasphemy. I’d have people show up after we’d play at a festival and they’d say, ‘How do you get your tone? I want to see your rig!’ And I’d go, ‘You don’t want to know, trust me.’ And they’d say, ‘No, no, I wanna know!’ And I’d show them. What I’ve found consistently is that people’s brains would not allow them to hear what their ears heard. They just couldn’t get past the reality of what it was.” He usually opts for a Line 6 G 30 or the G 50 wireless instrument system for his guitar. Lincoln also points to the flexibility Line 6’s new XD 75 wireless microphone system gives worship groups, thanks to the handheld transmitter’s array of built-in mic models. “I was really shocked at how good the models were inside the microphone. The fact that you could flip through a bunch of different mics and try different ones out and see which one worked was killer.” For onstage monitoring, Lincoln depends on Westone in-ears. “I think top to bottom there’s not a better company for in-ears. The UM Series is great. I carry around UM 3Xs along with my 5 drivers for backup. They sound awesome and they fit great.”
Lincoln’s upbringing in Alaska was anything but idyllic. He grew up in a broken home, seeking solace in music. Gifted at guitar and other instruments from a young age, Lincoln poured his energies into improving as a player and performing live. By age 19, his talent and hard work got him noticed. Recording contract offers began coming in, but by then, Lincoln had let the Lord into his life and chose a different path. He played on a Steve Perry (formerly of Journey) solo album and toured with the singer for six months in the mid-1990s, but soon returned home — now in California — to be with his new wife and work with his church as a sound technician. Eventually, Lincoln moved to Nashville, working alongside his wife as a youth pastor. Upon hearing his production work during a demo session, executives from Integrity Media took notice of his talent and signed him to their Vertical Music label, and Lincoln relocated to California and began his work at Bayside Church. His experience on the platform, on tour, and behind the scenes gives Lincoln unique insight into what it takes to make technology work in the context of worship. As he points out, “I think that a lot of people have allowed for things to get overly complicated, and ‘technology’ for some people is a bad word — when technology is supposed to be our friend and help us out.”
Renowned singer, songwriter, and guitarist Lincoln Brewster’s acclaimed latest release, Real Life, is available now. To find out more about Lincoln and his uplifting new album, go to linconbrewster.com.
Worship Sound Pro 101 Guides
Kronos X 61
319900
$
More info on pg. 106
Take a look at the instruments we’ve highlighted in this guide, including Yamaha’s MOTIF XF8, the affordable Roland FP-7F, and the piano-like Kurzweil PC3K8. You’ll also want to check out the Hammond XK-3c.
Workstations: Powerful Tools for the Worship Leader
Choosing the Right
KEYBOARD Whether you’re looking for a simple instrument that just plays and sounds like a real acoustic piano, or you’re seeking a powerful centerpiece for all your worship team’s ambitions, there’s a digital piano that’s right for your church. To help you zero in on the perfect keyboard for your needs, let’s take a look at the different kinds of keyboards available, as well as the important factors you’ll want to consider when making your decision.
Many church pianists we work with often feel overwhelmed by the number of choices out there — and even more so by the number of knobs, buttons, and controls on keyboards. “All I need,” they tell us, “is an instrument that plays like an acoustic piano and has a fantastic natural piano sound.” If this sounds like you, you’ll want to select what’s called a stage piano — and ideally one with a full set of 88 weighted keys (also called weighted action). These keyboards actually mimic the response of a grand piano’s keybed, where the lowest keys require more force to strike, and the upper keys feel light and airy beneath your fingertips. To nail the sound of an acoustic piano, today’s top keyboard manufacturers have gone to great lengths to record some of the finest grand pianos in the world, putting these sounds right inside the instruments. Not only can you get the sound of a classic Steinway, but on many you can also push a single button to get the sound of a Bosendorfer, a Yamaha C7, or a character-filled upright. If you’re replacing an acoustic piano, you should consider the importance of aesthetics to your church. If you have more-traditional services or are seeking a really natural look up on the platform, then you may want to choose a more authentic-looking stage piano. We have options available with wooden cabinets, in a variety of finishes, so you can choose an instrument that matches the decor of your church.
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pg. 123
AV D AVID Pro Tools + Eleven Rack
Line Li ine 6 POD HD500
pg. 96
pg. 130
Lincoln also relies on Avid’s Eleven Rack to get his favorite guitar tones in the studio. And, speaking of getting guitar tones, he gets plenty from one of his favorite new guitars, the Line 6 James Tyler Variax. “I think every studio ought to own one of those,” he enthuses. “It’s just amazing how spot on those models are. It was pretty stunning; I knew the guitar was cool, but at that point I was just a complete believer.”
Line LLin ne 6 XD-V75 XD X D-V75 p pg. 22
You can find Sweetwater-exclusive signature Lincoln Brewster patches on both the POD HD Pro and Eleven Rack systems. What’s more, Lincoln has been a Sweetwater customer “for almost 24 years. I could tell even back then: well-run company, thought a little bit outside of the box. If a church calls you up, ‘Here’s what we’re wanting to do,’ Sweetwater is able to really give them a comprehensive view of product options.” Lincoln neatly affirms his path as a musical messenger when he paraphrased a quote by Martin Luther: “Aside from theology,” he says, “there’s not even a close second to music in terms of communicating God’s word to people.” He adds, “It’s obviously a very important part of what we do as a church.”
Westone UM3X RC
lincolnbrewster.com
pg. 34
FIVE Main Features to Consider As you take a look at the keyboards featured on the next few pages, these five factors will help you start narrowing down your decision:
1. Action
Do you want keys that are weighted to feel and play just like an acoustic piano’s? Or do you want keys that glide beneath your fingers so that you can easily play synth and organ parts?
2. Sounds
Do you primarily need an authentic acoustic piano sound, or would you like to have other sounds such as strings, synths, electric pianos, organs, and more?
3. Arranging/Recording Capabilities
Will you be composing songs with your keyboard? If so, you may want to have a built-in sequencer, onboard drum sounds, and a direct-to-computer connection.
4. Size and Portability
Choosing a 76-key keyboard instead of a full-size 88-key instrument can be a great way to cut down on weight while maintaining a first-class playing experience.
While streamlined, piano-like instruments are ideal for a number of worship leaders and church pianists, many other houses of worship rely on keyboards for much more than just piano sounds. In fact, if you’re a piano-centric worship leader, you may very well be able to perform and produce your entire service with a single powerful instrument called a keyboard workstation. More than just keyboards with hundreds, sometimes thousands, of instrument sounds, these instruments often feature multitrack sequencers, so you can layer all the different instrument parts into a full orchestration. It’s very similar to working with audio editing and production software, only you’re not tethered to a computer — and you can easily play these backing tracks right from your keyboard during services. And even if you do have a complete worship band, you can use a workstation to add a few choice backing instruments to fill out your sound — perhaps a second trumpet part, a string section, or even an extra kick drum sound for more power.
Keyboard
Picks
359999
$
More info on pg. 104
Kurzweil PC3K8
Amazing feel and piano sounds
349500
$
More info on pg. 107
Increasing in popularity are keyboards that feature a built-in microphone input. These are perfect for the performing worship leader and great for scaled-down youth services. The vocal microphone goes right through the keyboard’s output, so you’ll need to amplify only one signal. Better yet, there are professional vocal effects built in, so you can refine the vocal sound without having to purchase an extra piece of gear.
Don’t Forget About Realistic Organ Sounds The organ is still a very popular instrument for worship services. And while most of the keyboards we carry feature a built-in organ sound, you can get that organ-playing experience — complete with drawbars — by choosing a dedicated instrument for the task. Have more questions? Our Sales Engineers are here to help you choose the best keyboard for your church’s goals. In fact, what you see in Worship Sound Pro is just a small sampling of the many keyboards we have available. Give us a call today at (800) 222–4700.
5. Appearance
How important is it that your church’s keyboard resemble an acoustic piano? Do you want an integrated stand, or would you prefer to use a more portable stage-style keyboard stand?
Roland Jupiter-50
Incredible piano and synth tones — and more
199900
$
More info on pg. 112
Hammond XK-3c
Classic Hammond organ sounds
252500
$
More info on pg. 111
Roland RD-700NX
Platform-ready playability and sounds
269900
$
More info on pg. 108
Roland FP-7F Fantastic piano voices plus modern capabilities
$
>> Sennheiser
EW 335 G3
$
It’s bound to happen at some point: the mix disaster. Maybe your church’s regular sound person calls in sick at the last minute. Maybe the new volunteer sound person doesn’t know a volume slider from a sliding door, or a mixing board from a mixing bowl. Whatever the circumstance, something has to be done to save the service. Without decent sound, the congregation won’t be engaged or inspired by the music, >> Line 6 $ 44999 lost. and the message may be completely XD-V55 (HANDHELD)
84995
More info on pg. 24
Churches across the ccountry swear by wireless system! this pro-level UHF wi
Worry-free W Wor or
A Balance of Features for Modern Worship If you don’t need the all-out power of a workstation, but you’d still like a handful of cutting-edge capabilities — maybe built-in drum patterns for rehearsals and a lighter sequencer for a quick songwriting sketch pad — there are a number of options that fall somewhere in between the two categories we’ve already mentioned. Instead of choosing an 88-key option, which has the same number of keys as a full piano, you can select a 76-key — or smaller — version. These instruments trade a slightly reduced range (many keyboardists never use the highest and lowest keys anyway) for lighter weight and a more portable form factor. You can still get fully weighted keys on a 76-key piano, or you can choose a semi-weighted version that works well if you perform a blend of classic and modern instrument sounds, rather than strictly piano.
Building a Mix
Yamaha MOTIF XF8 Great workstation, loaded with free extras
More info on pg pg. 22
WIRELESS W WI
Wireless techn Wi technology can be a little daunting at first. But don’t worry, wireless systems easier to understand today than ever before. Most wireless systems set are much easie themselves up for you, and once you’ve set them up, you don’t need to touch them again. Here’s a simple overview of wireless microphone technology, how you can put it to work in yyour church, and how to avoid some common pitfalls. There are two basic types of wireless transmitters: handheld units and bodypacks. Handheld units combine a microphone and a wireless transmitter into one device. They are extremely convenient for worship leaders, and even some pastors prefer them because you can move a handheld microphone away from your mouth if you need to cough. Wireless handheld microphones are also less susceptible to dropout, because the transmitter part of the unit naturally points out toward the receiving antennas.
199900
More info on pg. 110
Call us today at (800) 222–4700
RSS V-MIXING MIXING M SYSTEM
The Basics of
Worship Worsh ip Sound Pro 101 101 Guides
Bodypack transmitters allow you to plug in a lavalier microphone or a guitar cable, giving you both wireless and hands-free convenience. If you are going to use a lavalier microphone, you’ll most likely want to choose one with a cardioid (unidirectional) pickup pattern rather than one with an omnidirectional pattern. Cardioid lavaliers reject sound that doesn’t enter them directly, making them less likely to create feedback. Just remember this: no matter how much freedom wireless microphones give you, you still can’t walk in front of the loudspeakers without causing feedback. >> Shure
ULXD4
Call to set up your custom system!
This T his digital system actually lets you choose creating thedifferent perfect modeled sound mix a service a mong mic for types! among
Dropout is just as bad as feedback. Even intermittent dropout opout ne can ruin an otherwise wonderful service. An unbroken line nnas of sight between the transmitter and the receiver’s antennas t, the is ideal, but seldom is that possible. More times than not, aces wireless signal must rebound off of walls and other surfaces out out. to reach the receiver, and that increases the risk of dropout. he If you put a bodypack transmitter in your back pocket, the signal (unable to pass through you) will have to find an alternative path to the receiver. So, to minimize the risk of signal dropout, keep your bodypack in your front jacket pocket. Another major problem is broadband noise and radio n interference. If your church is in a city, chances are that an k inexpensive entry-level wireless system simply won’t work he for you. The same precision technology responsible for the end high simultaneous channel count common to most high-end ut professional wireless systems is responsible for shutting out ich h noise and radio interference. Digital wireless systems, which e reject noise and other nondigital signals out of hand, are excellent cost-effective alternatives to traditional wirelesss systems. eivers, All professional wireless receivers are “true diversity” receivers, hat which means that they use two independent antennas. That an way, if the wireless signal doesn’t reach one antenna, it can nnas still reach the other. Quality wireless receivers have antennas d that twist off, allowing you to mount them on stands and ses spread them out. Separating your antennas vastly increases >> AKG
DMS 70
$
39900
Though is a true art, a sound person with little or no mixing experience can still achieve good sonic clarity and deliver the message with pleasant and effective audio. Here are some tips for their effectiveness. Even spreading your antennas out just a saving the day with a quick, last-minute mix — whether few feet and moving them away from your other gear will you are working the sound booth yourself or have the help vastly improve your system’s performance. Also, if you have a of a volunteer. multichannel wireless system, you may also need an antenna distribution system, which will allow you to connect only a 1. Keep it simple. single pair of antennas to multiple receivers. Unfortunately, mix emergencies rarely occur when you have Whether your future wireless system is a single-channel, loads of spare time to work on a solution — it single-speaker setup or a larger system for the whole worship almost always happens minutes before the service is team, it should effectively and accurately spread the message. supposed to start. While your sound booth may have racks Unfortunately, many budget-priced wireless systems may make of processors and sophisticated audio equipment, now is it difficult and unpleasant for your congregation to hear that not the time to experiment with effects or to randomly message. If the number of quality wireless systems you need start turning knobs. Focus on the bare minimum you is beyond your current budget, practice wise stewardship and need to get the job done. Leave the special effects for save your money until you can afford the system that your another time. house of worship deserves. There are excellent single-channel wireless systems that you can start with and expand later. Your 2. Use what’s already there. Sweetwater Sales Engineer will be happy to help you find the Hopefully, your sound system is already set up, the cables and right system for your church. the snake are run to the mixer, and the monitors are tuned in to prevent feedback. Plug the mics into the mixer or snake in their usual positions. Try to use the same “old standby” microphones and other gear you usually use — again, now is not the time to experiment with new gear!
3. Have a conversation with the worship team. Explain to everyone that the regular sound person is not available and that help is required to have the service go well. This means guitarists need to turn down, drummers need to control volume, and so on. Explain that the monitor
8. Build the mix by bringing up the volume faders for the basics first. Start with the bass drum and the bass guitar, turning them up to a comfortable level and balancing them against one another. You may need to adjust the level of the master volume fader to get the overall level to the right point.
9. Turn up the volume faders for the vocals.
system may not be perfect — forewarning the team that everything may not be ideal will go a long way toward easing the process for everyone. At least they will know what to expect!
Now focus on the vocals. Set them to a comfortable level, balanced against the bass guitar and the bass drum. The lead vocalist needs to be the loudest, with the background or harmony vocals filling in behind.
4. Turn it on.
10. Turn up the volume faders on the other instruments.
Turn on the speakers or the amplifiers last; this prevents loud thumps and pops from coming through the system.
5. Reset the mixing board. Begin by pulling all the volume sliders (faders) down to zero. (Usually these are found at the bottom of each channel on the mixer.) Set the channel gain to a mid position (Usually this knob is found at the top of each channel on the mixer.) Next, reset all the equalization (tone) controls on the mixer to their center position, which is essentially off. Turn the auxiliary or monitor sends off. Make sure that mute or solo buttons are disengaged. (Usually these buttons are off in the up position.) Set the master volume fader to about 50%.
6. Begin testing each sound source through the mains. Have the main vocalist speak or sing into his or her mic. Bring up the volume slider until you can hear the vocals in the main speakers. Turn up the auxiliary or monitor sends until the vocalist can hear himself or herself in the monitors. As you verify that each mic or source works, pull its volume fader back down to zero. You can leave the aux (monitor) sends turned up so that the singers can hear themselves. To prevent feedback, don’t run the stage monitors too loud.
More info on pg. 26
This inexpensive digital wireless system is a real performer onstage!
Photo by Jon James and Troy Behrens
7. Have the worship team begin to play a song. Watch for red overload or “clip” lights on the mixer. If you see these, turn down the gain controls at the top of that source’s channel.
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One at a time, begin turning up the other instruments. Start with the rest of the drums, then the guitars, the pianos, the keyboards, and any other instruments; adjust the volume as needed. Balance each one against the vocals, the bass drum, and the bass guitar. This is a place where you can err on the side of being conservative. The vocals are the main focus, and you want to ensure that they are clearly audible. Use the other instruments to fill around the vocals, without obscuring them. As you go, adjust the master volume fader to control the overall level.
Sweetwater-exclusive Interview with Lincoln Brewster
The inspiring songwriter and guitarist shares advice on using music technology in your house of worship — and talks about his favorite gear.
Essential Guides for You and Your Volunteers
Worship Sound Pro 101 Guides
Customer-favorite >> KORG
When Less Is More
When he heads into the studio, Lincoln uses a Pro Tools HD rig outfitted with Waves and Universal Audio plug-ins. He also uses plenty of outboard gear in addition to working “in the box.” Mic-wise, “I use a handbuilt ADK tube mic (CS67J) that’s based off of a U-67; it’s awesome. I’ve also got a pair of Shure KSM 44s. I use them for vocals, but those mics work on anything.”
So, how would Lincoln approach gear and technology if he were starting from scratch? With an eye for effective sound solutions that don’t overwhelm the team or the budget, for starters. “”I think, if I were to go back to some of my earlier ministry days and start smaller, I would start with a good sound system,” he says. “The nice thing is that you can get some great sound systems that don’t cost a lot of money, that have a lot of flexibility, and are designed for volunteer use or for people who aren’t at a ‘professional-caliber’ level. Line 6’s new StageScape PA system is just phenomenal,” he says, pointing to the system’s intuitive touch-panel controls. “What a cool concept! Things like that which are now available are making it possible for churches that are smaller and don’t have the big budgets to come up with really great results.” He warns against looking to technology as the total solution, rather than an aid. “Before you have something in place the way you want it, it can often become your focus. Technology is definitely one of those things that offers that danger. So, we can consistently, day in and day out, be about, ‘Oh, if we just had this, or if we just had this.’ You’ve got to have the right components, but it doesn’t require as much as most people think.” He adds, “Once you get some things in place, I think a lot of people need to ask what they’re going to do with it. I think a lot of worship ministries, if you went, ‘Okay, here’s everything that you’ve ever needed. Ready, go,’ then some of them might freeze for a minute because they’re so not used to thinking about what they’re actually supposed to be focusing on.” He points to the bottom line: “I think that our focus has to be on: how do we get God’s people connected in an authentic way? How we get them worshiping? What’s going to make that experience work? I ask myself that every week when I’m putting my set together. I’m going, ‘Alright, Lord, what’s it going to take this week? What are the songs? Anything I need to say?’ And really focus on the experience from that angle and work on the
Lincoln Brewster puts a lot of thought and experience into choosing the gear he relies on when he’s performing on the platform and recording in the studio. Throughout this issue of Worship Sound Pro, you’ll find several products that are similar to the ones Lincoln prefers. Here are a few great examples! es!
Worship Sound Pro features the latest and most essential music equipment and technology for today’s houses of worship.
>> MACKIE
DL1608
99999
$
More info on pg. 43
spikes in sound. Ask each worship team member what he or she needs to hear from the monitors — one at a time so that everyone doesn’t speak at once — and adjust the auxiliary sends accordingly.
13. Don’t try to overtune the mix, and don’t make it too loud. Set things up so that they are clean and clear, and at a comfortable, conservative volume level. Then stop! Once you get to the point where it sounds okay — this should happen fairly quickly — stop tweaking the knobs. It’s easy to lose perspective and get lost in knob turning, even though the goal has already been achieved.
14. Here’s a final tip. When in doubt, focus on making the vocals, whether spoken or sung, clearly audible. The congregation is there to hear the message, which is contained in the words and lyrics. The music is inspiring and essential to a great service, but it plays just a supporting role in the grand scheme of things. Ensure that the vocals are heard, and the service will be a success!
11. It’s time for the equalizers. Up to this point, we haven’t touched the equalizers (tone controls) on the mixer. If you find that the sound is getting too bassy or boomy, use the “low” or bass tone control to reduce the bass frequencies a small amount on instruments such as bass guitar, keyboards, and piano. Vocalists, especially male vocalists, may also need their bass reduced a small amount. To increase the clarity of a vocal or an instrument, add a small amount of treble or high frequencies by using the tone controls on that mixer channel. Be careful with the tone controls, as overuse can lead to feedback!
In-depth, down-to-earth articles help volunteers, pastors, and worship leaders to understand the ins and outs of the latest in worship sound technology.
12. Fine-tune the mix and the monitors. Adjust volume levels so that instruments and vocals are balanced, and adjust the bass and the treble controls on channelss as necessary to prevent boomines ominess, harshness, orr boominess,
>> PRESONUS
STUDIOLIVE 24.4.2
329995
$
More info on pg pg. g 43
We'll help you set up a system that fits your church's needs perfectly!
Call Ca ll us u tod today at (800) 222–4700
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With valuable advice on live mixing, miking techniques, instruments, and more, our informative guides give you the tips and tricks you need to make your services sound better.
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Practice, Rehearse, and dP Perform f
Here’s the best way to learn, rehearse, and perform today’s top Christian music! Get complete backing tracks and practice mixes, charts, and more.
Try out Pro Worship Music for free — with no obligation! k out Chec orship Download “Before the Morning” for absolutely no charge. Pro Wsic FREE! This is a limited-time offer. Get your download now! Mu Sweetwater.com/worship
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The world’s foremost noise reduction for guitar players, live or in the studio, Rocktron’s HUSH® has been the standard in touring rigs worldwide for well over two decades. HUSH wipes out hiss, hum, crackle, unwanted feedback and pickup buzz while delivering incredible signal cleanup, leaving your tone intact! Use after noisy stompboxes, wahs, effects, and preamps. No loss of sustain, no loss of tone. Rocktron’s V.I.R. (Variable Integrated Release) circuitry allows every note you play to shine through and sustain naturally. HUSH is the original guitar noise reduction, used by so many professionals and high profile artists that we’ve lost count! In stompbox format, pick up either the original HUSH pedal or our new Reaction Series HUSH. For studio or touring rigs, try the stereo HUSH Super C, or the HUSH Pro (with both 1/4” and XLR inputs and outputs). For even more features, check out the HUSH Ultra with programmable presets and MIDI control allowing you to tailor your HUSH settings on individual presets to suit your needs. Ignore imitators… there is only one patented HUSH noise reduction, and it only comes from Rocktron.
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STAGE. YOUR REVOLUTION.
Features 8 Product Review by Michael Hodge JBL LSR6328P
Singer-Songwriters, Music, and Milestones First Things First was a record that really opened my eyes to Christian folk music. This now classic record, by our cover story artist Bob Bennett, was acoustic guitar minded with stories being sung in parable like fashion. Back then, that record was part of the sound track to my life. In fact when my first-born son Drew came into the world 32 years ago… Bob Bennett’s music was on the cassette player in the delivery room (along with Praise Strings III by Maranatha). The role of a singer-songwriter is almost sage like; someone who is profoundly wise, and someone who can unearth deep feelings you are thinking in your own heart and sing them out loud in song. I remember seeing Bob Bennett live in concert around 28 years ago on the top of the Century Building in Los Angeles for a record release party thrown by a newly formed record company. Those were the days when record companies had money. In fact, that night they served jumbo shrimp, and Carman was a new artist then with only an acoustic guitar strapped around his neck. The last time I saw Bob Bennett sing was about five years ago at Roby Duke’s memorial service. It again reminded me what a blessing Bob is to the music community, and how much he cared for our friend Roby was touching too. My son Drew must have heard Bob’s music a hundred times growing up, and as life can go; Drew started writing his own songs as a teenager. As a singer-songwriter doing acoustic folk music on both coasts (East & West), Drew has grown into a veteran himself and has written and performed twelve records to date and sung everywhere from Berkeley to Brooklyn to Berlin. Now as milestones would have it, thirty two years later Bob Bennett is coming to the Christian Musician Summit conference for our 10th Anniversary celebration to sing, teach workshops, and mentor singer-songwriters… while Drew hit a very special moment in his life as he just married the love of his life Molly in Brooklyn, NY. Wow, life can get so busy at times, but we have to be sure that we don’t miss the precious moments and people in our own life’s story. Judy and I want to publicly welcome Molly into our family. In his Grace… Bruce & Judy
10 Bassic Communication by Norm Stockton Developing Your Inner Clock (Part 5) 12 Guitar Workshop by John Standefer Save Me at the Cross 14 Drumming Dynamics by David Owens Roland SPD-SX 16 Vocal Coach’s Corner by Roger Beale To Pierce or Not to Pierce
CONTENTS 36 The Fretboard Less Traveled by Rich Severson 38 Ask Joe by Joe Riggio 41 Guitar From A 2 Z by Roger Zimish Christmas Classics 44 Keyboards by Erick Hailstone Synth Sense 46 The Incredible Shrinking Song by Bryan Duncan
18 Show Us Your Groove by Rick Cua Termination Dust and Other Signs from God 26 Selective Hearing by Shawn McLaughlin Ashley Cleveland Andrew Osenga Charlie Peacock StompTown Revival Gabriel Wilson Brandon Heath Third Day The Sunrise
Interview
30 50 Great Gifts for Musicians by Bruce Adolph 20 Bob Bennett Jesus Music Again (and Much 34 The Indie Mechanics More) by Keith Mohr & Sue Ross by Aimee Herd Mohr cover photo: Paul Bennett The Sense of It All
4227 S. Meridian, Suite C PMB #275, Puyallup Washington 98373 Phone: 253.445.1973 Fax: 253.655.5001 Email: bruce@christianmusician.com Website: www.christianmusician.com Editor & President: Bruce Adolph VP/Office Manager: Judy Adolph, judy@christianmusician.com Customer Service: Brian Felix, brian@christianmusician.com Street Team: Mike Adolph, Jesse Hill & Winston Design & Layout: Matt Kees Copyediting: Kevin Wilber Advertising Sales: bruce@christianmusician.com Published by the Adolph Agency Inc.
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PRODUCT REVIEW
JBL LSR6328P By Michael Hodge This month I’m reviewing the JBL LSR 6328P mid / near field monitors. This may get a little bit technical, but I hope it will be helpful and informative. Whatever kind of studio you have, one of your most important purchases is the studio monitors. There is an old saying “What you see is what you get”, well it doesn’t ring true in the audio world. That’s why having the right monitors that you know and trust, and a well-designed listening environment are key. Something that sounds amazing cranked up on your studio speakers can really disappoint when you play it somewhere else. The goal, of course, is to have a system that allows your mixes to translate well anywhere outside your project studio. There are a lot of options to choose from and many things to consider. First of all, most home studios don’t have the luxury of being designed by a professional. Secondly, most rooms just aren’t large enough to naturally and accurately handle bass frequencies. JBL has elegantly addressed many of the problems typical of project studios. They may be a little on the pricey side, but you do get what you pay for. JBL has been a major player in the studio monitor world for decades. A few years ago they introduced the LSR series professional studio monitors. LSR stands for Linear Spatial Reference in a Bi-Amplified Monitor. If it sounds high tech, you’re right, they are just that. They are packed full of great technology and features. For starters, they are Magnetically Shielded, so you won’t have problems with an older CRT screen. The outside has a modern rubbery coating, and weigh in at just under 40 lbs. with some nice built in handles on the sides. On the rear panel are a group of controls and switches for numerous EQ and control room settings along with sensitivity adjustments, as well as XLR and ¼ inch inputs. These speakers can be adjusted to perform well in just about any kind of listening environment. I like that the LSR6328P when ordered as a pair, come with its own RMC {Room Mode Correction} calibration kit. However, for this review we used JBL’s optional MSC1 Monitor System Controller for RMC (room mode correction.) The MSC1 kit includes a calibration mic, and MSC1 software to accurately measure your room and make precise EQ adjustment
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to compensate for low frequency problems inherent in your room. I was very curious about that since I have been working around some minor issues below 200 HZ in my project studio. The MSC1 however does more than just room mode correction. It doubles as a control room Monitor interface for switching between 2 sets of monitors, and three separate stereo inputs. The MSC1 also has a headphone output jack, Input Trim, switches for EQ In, Mute, RMC calibration mic in and out, Sub out, and is topped off with a cool giant volume knob. On the back of the unit is a USB input, which connects to a computer to use the included MSC1 software. Out of the box, the LSR6328P speakers are slightly larger than most near fields, and the built in handles are very helpful for moving them around. I set them up just outside my normal near fields and had them up in running in no time. The LSR series have a ton of headroom. The bi-amped enclosure sports an 8-inch woofer powered at 250 Watts, and a 1-inch titanium High Frequency driver powered at 120 Watts. They can get VERY loud without noticeable distortion. I listened to some mixes that I know well, and I noticed immediately that the sweet spot is much wider than my near fields. JBL uses a proprietary Waveguide technology to help make that happen. The top end and midrange are very detailed. The crossover point was virtually undetectable to me. I would describe the transients like percussion, and as very transparent but not hyped. I’ve spent several months really checking these speakers out. I find that at my normal volumes, I have very little ear fatigue, which means my ears aren’t ringing at the end of a long day recording rock guitars. That also makes for a great night of sleep. What I really like about these Monitors, is that even in my not-so-perfect room, when I pull up a tracking session I feel like I’m there. Everything is exciting, punchy, and natural. If
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I have a client in, I can crank it up without the speakers compressing or changing balance. They sound the same loud as they do quiet. Analyze this! The MSC1 and RMC software is a real plus. I had an engineer come look at my room in Nashville and quickly found that it can be very expensive to analyze and fix problems in your room. To be able to so with the JBL’s, or another set of monitors, easily and at any time is fantastic. The MSC1 works with any pair of speakers, and can be bypassed as well by a switch on top of the unit. After loading the software into a Mac laptop and hooking up the reference mic, in about a half an hour I had fixed my weird problem at 184.5 HZ. It was precise, painless and actually interesting. There is a graphic in the software that shows exactly what’s going on. By manually switching the Correction in and out on the RMC, I could hear the bass tighten up quite nicely. The RMC will also time align your sub and set the crossover point in the best spot. It’s a really great unit. The JBL’s can definitely be used without a sub since the Bass response goes down below 36 HZ. JBL has a sub {LSR6312SP} that is designed to go with the speakers if you want as well. Summary I didn’t expect these monitors to be amazing. I know a number of respected engineers use them, but I had never heard them myself. They are enjoyable to listen to, and with the RMC and software a solid investment. I think they would be great in a tracking room as well as a mix room. The street price for a pair of JBL LSR 6328P’s is about $3,000.00. JBL also has a slightly smaller set of monitors, the LSR4326P with the similar Room Mode Correction technology and they run about $1,100.00 street. I’ve heard great things about those, and they are set up to run in 5.1 with a built in network connection. At the end of the day I give the 6328P’s a big thumbs up. Try them out and see what you think.
Developing Your Inner Clock (Part 5) I hope you have been enjoying this series! There are so many fun and creative things that can be done on the bass guitar both melodically and harmonically, but there is arguably no single element of our musicianship that’s more important than calibrating our internal sense of time. As I mentioned last time, we’ve been multitasking a bit: by this point, some of you may have noticed your proficiency at sight-reading rhythms has also improved. I love maximizing efficiency in the woodshed, and if we can develop multiple aspects of our playing at the same time, I’d put that in the “epic win” category!
there wasn’t a lot of applicability between our click playing on the quarter notes at 100 bpm practice exercises and real-world groove playing. (slow down a bit if needed), then work through Today’s exercises should establish some relevance! them again while the click is playing just those backbeats from the 2nd staff. As before, don’t Exercise 1 reflects a very minor tweak of take the repeats literally (i.e., playing each figure the basic rhythmic figure involved in our last installment together (the only difference is the hit only twice) – play each figure as many times as it takes to really internalize it. Here’s a list of things on beat 4 has been displaced by an eighth-note, to keep in mind: to the “and” of beat 4). Today, we’ll give pitch to this rhythmic figure. Exercise 2 reflects a bass line that would work well under an A-7 or A7 vamp. Exercise 3 has some minor but fun variations on Exercise 2.
Bassic Communication Developing Your Inner Clock (Part 5)
Metronome Clicks on beats 2 & 4 (Keep tapping foot on each quarter note)
Exercise 1
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Exercise 2
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Exercise 3
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Make sure to tap your foot on the quarter notes and assimilate both the tempo and how the various subdivisions feel over those quarter notes. Ensure your foot doesn’t depart from those downbeats, regardless of the rhythmic figure being played or metronome figure used.
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When working with ghost notes (as in Exercise 1), just mute the strings with your fretting hand and pluck as normal. Ghost notes are perfect here, as the click should disappear when you’re locking with it.
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Once these exercises are coming together, practice them at a variety of tempos – the slower tempos can be surprising challenging to play accurately.
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Play them while dynamically alternating between loud and quiet (gradually getting louder or quieter over the course of several repeats), striving to keep the rhythmic accuracy regardless of dynamic level.
Norm Stockton
Listen intently for flams (two distinct, nearly-simultaneous hits) resulting from your note not occurring precisely with the click. Keep repeating the exercise and see if you can execute it “flam-free”. Record yourself and listen back critically.
Play through Exercises 1 through 3 with the
Up ‘till now, you might have been feeling like
Metronome Clicks on quarter notes (Tap foot on each quarter note)
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© 2012 Stocktones Music
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After you get comfortable playing with the click, set up a basic eighth-note drum groove at 100 bpm and play these exercises to it. The drum pattern will likely be easier to lock with, as it provides more subdivision than the click. God bless & happy woodshedding! (Adapted from curriculum in the Grooving for Heaven instructional DVDs)
Norm Stockton is a bassist/clinician/solo artist based in Orange County, CA. Recently departing from his long tenure as bassist with Lincoln Brewster, Norm is focusing on equipping bassists around the world through his new instructional site (www.ArtOfGroove.com), as well as freelancing (including tour dates with Bobby Kimball, former lead singer of TOTO). Also visit Norm at www.normstockton.com, Facebook & Twitter.
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Save Me At the Cross I recently had a request from one of my Skype students to develop an accompaniment arrangement for a hymn called “Save Me At The Cross”. I had never heard of it and it
wasn’t in any of my hymnals, so I had to search it down. On YouTube I located a clip of Gary Chapman doing the tune. As soon as I saw Gary’s name beside the song title I knew I had
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it whipped. For those of you who don’t know, Gary has released a ‘hymn a week’ for some time to his YouTube subscribers. I signed up in March when I heard about what he was doing. This is a fantastic resource for Christian guitarists because Gary digs up great old hymns, many forgotten, and performs them solo - just voice and guitar. He has a knack for taking trite, worn out rhythms and chords associated with older hymns and replacing them more contemporary (and ‘guitaristic’) ones. He doesn’t go overboard, he just irons out the wrinkles and creates, quite simply, a presentable new way of performing an old hymn that is honest and respectful. If you haven’t discovered this resource, look him up (and subscribe to his list!). So, back to the hymn at hand. It turns out that “Save Me At The Cross” is a Fanny Crosby tune - and it’s a good one, especially the way Gary offers it. So all I had to do was to look at what Gary was doing and simply write out chord diagrams to match his fingerings for my student. I thought you might enjoy taking a peek at the results. The tabbed out intro is slightly simplified, but I’m sure you’ll get the idea. And, by the way, I liked the tune so much that I also developed a really nice solo arrangement of the piece. At this writing I’m working on getting the TAB for it finished and uploaded to my website (I have around 50 TAB arrangements of all kinds there on the ‘store’ page, and growing). So... dial up <save me at the cross gary chapman> on YouTube and use this chord chart to play along! Happy pickin’! - JS
Check out John’s 5-DVD set ‘Praise Guitar Lessons’ at the ‘store’ page at www. johnstandefer.com. You get 52 video lessons similar to these CM articles, but you can see and hear the lessons! Includes charts. Also consider private lessons with John via Skype!
Roland SPD-SX This time around I want to talk about a sampling-trigger unit I recently acquired from Roland called the SPD-SX. It is a tool that has become a permanent part of my set-up for worship sets and almost any musical situation I am in. It has nine pads that you can program to suit your needs. Most of the time I use it to trigger conga, shaker, tambourine or any assortment of loops I have sampled and stored in it. And you can play them at any tempo. I have seen it used by many drummers and I think it will continue to grow in popularity for running tracks and triggering samples.
do is find the name of the song on the SPDSX and hit one pad to trigger the track and they are off and running. It makes it so simple and virtually mistake proof for my subs. And I really like the fact that I don’t have to lend my computer out when I can’t be there.
computer to the SPD-SX via USB and all your .WAV files (as long as they are in a 16/44.1 format) can be dragged and dropped right into the SPD-SX. Once they are in the SPD-SX the Wave Manager has an image of the pads on the screen and you just drag and drop the One of the coolest things about the SPD- samples or loops to the pad you want them SX is being able to save all the programming, on. loops, and samples I’ve customized for it on The ability to program the pads in so many a flash drive. When I do fly dates I request different ways is another fantastic feature of backline companies to have an SPD-SX with the SPD-SX. I can have a pad play a loop from the other rental gear. All I have to do is show 2 to 4 to 8 times and automatically stop. If I up with my flash drive and load in all my know I only want the loop to play for 16 bars One of the new additions to the SPD-SX (as customized programming. I don’t have to hit a pad again to stop it. I can opposed to the older SPD-S) is an internal I have used a Roland Handsonic (HPD-15) also hit one pad and have many pads play at metronome. The metronome is assignable for years to create hundreds of loops. I am once by linking them together. to any of the outputs so I can set it so only I in the process of taking all of my Handsonic The SPD-SX is a piece of equipment that I hear the click. I can be playing with the click loops and putting them in the SPD-SX. I will believe will become a standard part of most and trigger a loop that plays at the same have countless loops that I can mix and match drummers setups. It is easy to use and very tempo. There is nothing more effective than in any way I want. cost effective. When you get a chance you triggering a simple tambourine loop for that There is a great tool that comes with the SPD- should check out some of the YouTube videos extra something to help lift a chorus. SX called Wave Manager that makes it very demonstrating it. I have one gig where I use the SPD-SX to easy to organize and import all your loops and Finding a standalone piece of gear that trigger full tracks for songs. Occasionally I samples. All you have to do is hook up your does so much is a real blessing. I am excited need to sub out the gig. All my subs need to to explore all the creative possibilities it has opened up for me.
David currently tours with Fernando Ortega and has worked with Sara Groves, Bebo Norman, Crystal Lewis, Cheri Keaggy, Tommy Walker, Paul Baloche among others. He has played for Billy and Franklin Graham Crusades, Harvest Crusades, Maranatha Worship Leader Workshops and for over 2 years he was the house drummer for the Los Angeles production of The Lion King. His home church is Plymouth Church in Whittier, California. www. DaveOwensDrums.com
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To Pierce or Not To Pierce I just got back home from a shopping expedition with my wife. One of our stops included a visit to Radio Shack to purchase a small cable to replace one that went bad in my teaching studio. Upon entering the store a very friendly employee approached us to see if she could be of assistance. I quickly noticed that she had a speech impediment. But the more she talked, I realized that she had a piece of metal stuck through her tongue. She had had a tongue piercing at some time in her life.
allergies to the jewelry.
I am writing about this incident because I have had a student come to my studio with a tongue piercing. She had a one-inch metal bar with two balls on each end inserted vertically through her tongue. She was not a “rocker”. She was a praise team member of a large and prominent church in Atlanta. When I asked her to remove the object during her lessons and practice sessions, she asked me why. I found I did not have a credible answer. This subject has not been addressed by any vocal pedagogy book that I know of! One would think that common sense would guide a singer’s thinking, but apparently this is not the case. It is up to the teachers of singing, choral directors, and church worship leaders to provide valid reasons to request the removal of tongue jewelry.
movement of the tongue. Since these changes would alter the movement of the tongue, they would also alter pronunciation in speech and singing. Some spoken sounds in which a pierced tongue could be a problem would be /d/, /t/, and /n/. These sounds have the tongue making contact with the upper front teeth. With the sounds /g/ (guh), and /k/ (kuh) the tongue is in contact with the hard palate. The weight of the jewelry may make this a slower process and the barbell type will prevent the tongue from making complete contact. This might make a singer difficult to understand.
could create a problem with effective singing, speaking, and practicing. In addition there is no guarantee that this excessive flow will lessen when the singer removes the jewelry from their tongue.
The tongue is the most important muscle used in speaking and singing. Singers must be able to communicate correctly and clearly. And it is assumed that excellent diction is a necessary skill. Would it be reasonable to think It would be easy to reason that any serious that piercing and placing a metal object into singer would not pierce the tongue. Don’t the tongue would have an adverse effect on a count on it! It is important that all of us singer’s ability to pronounce words correctly? who work with singers give them correct The oral cavity is altered when a tongue information about the potential dangers of stud or barbell is present and may affect the tongue piercing. Some singers who have their tongues pierced may have no problems at all. Their appearance with tongue jewelry may even be acceptable to many audiences. But it is also possible that a small percentage of singers will have problems and difficulties as a result of piercing the tongue.
We need to tell the singers we work with what we know and what we don’t know. Then we need to keep observing and learning about this problematic topic.
Oh, by the way, the piercing is not done by a medical doctor but by a “body modification The tongue muscle is critical to the shaping artist” with a 14 or 16 gauge boring needle of the vocal resonator. The tongue assists and no local anesthetic. Yikes! greatly in vowel formation. The tongue moves from a high position for the vowel sound “ee”, Now go sing well! moves to the middle for an “Ah”, and to a back At the present time we cannot provide those position for a “U”. Any adjustment of the Roger Beale is one of the reasons. All we can do is speculate and voice movement of the tongue, due to a piercing, nation’s foremost vocal coaches. our concerns. It is the responsibility of people may alter a singer’s vowel sounds. He presently works with who work with singers to convince them to professional singers in all areas avoid this practice or remove their jewelry One noted vocal teacher has stated that, of musical performance. His “overall diction will improve as the singer until credible studies have been performed. teaching and coaching facility, learns to relieve unnecessary tensions in the The Voice House, is involved Tongue piercing is a fashion trend that has articulating organs.” The most important in the management and care increased in popularity in the Western world articulating organ is the tongue, and it may be of the professional voice. since the 1980s. In other parts of the world difficult to eliminate tensions if the tongue is Many of his students have won it has been practiced throughout history. It is altered by piercing. Tongue positions may be prestigious vocal competitions and scholarships. In rapidly entering mainstream American society, altered to adjust for tongue jewelry. addition, he has worked with Grammy and Dove especially in the 18-30 year age group. One side effect, already mentioned, is award winners and nominees. He also offers There are serious health risks associated increased saliva flow. This could be problematic vocal clinics and seminars, as well as assistance in with tongue piercing. These include for a singer. It does not happen to everyone recording sessions. Roger is an adjunct professor prolonged bleeding, permanent numbness, who choses to get a tongue piercing, but it still in the Fine Arts department at Point University tongue swelling, localized infections, airway is in the realm of possibility. A singer with a (formerly Atlanta Christian College), website: obstruction, and injury to the teeth. Other tongue piercing may not have to worry about www.point.edu. Roger can be contacted at: The issues are as follows: speech difficulties, dry mouth. He or she may have to worry Voice House, 1029 Peachtree Parkway, Suite 276, Peachtree City, GA 30269, (404) 822-5097, e-mail: chewing problems, increased amounts of about too much saliva. This consequence voicehouse@mindspring.com. saliva, swallowing parts of the jewelry, and
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Termination Dust and Other Signs from God by Rick Cua As a musician, I’ve twice had the great privilege of playing God’s music at the Alaska State Fair. On our first visit I can remember sitting in a coffee shop in Palmer on a beautiful August morning with my wife Diana. As the waitress brought us our cappuccini and scones, she looked out the window and commented “Termination Dust”. Our curiosity must have been evident because we were quickly told that the termination of summer and summer jobs was annually signaled by the appearance of August snow on the mountain peaks. Similarly, this analogy speaks to that unfortunate time we have all experienced when the connection between band and audience, worship leader and congregation is “terminated”. It could be for many reasons… distractions, music that lacks relevance for a particular group of people, or a lack of knowing who you are playing for and what your ultimate purpose is. As worship leaders and musicians we should use our abilities, not just musical, but all of our senses to help people draw close to the Lord in worship. Jesus declared, “A time is coming and has now come when true worshippers will worship the Father in Spirit and truth, for they are the kind of worshippers the Father seeks.” John 4:23 As a young musician I learned how to move an audience through an emotional, or soul-ish experience. From the energetic highs of rock anthems to heart tugging moments of songs about love and love lost, we took people on a musical journey. We learned to read the audience and watch for signs that told us if we were connecting or not. There were many things we could do to reconnect and if we were really in trouble we pulled out the big gun …the drum solo! This was done as entertainment – capturing one’s attention for a purpose – our purpose in those days was to connect to the soul man to win their hearts. Fast forwarding to Christian music and congregational worship, reading the signs involves more. It’s about leaning on God and having hearts open to His leading. A number of years ago, during one of our “Rock The Boot” tours in Italy; I was invited to minister at a small church in Naples. This was a congregation where the men sat on one side and the women, with head coverings, on the other. During the first song I realized we had a problem. I was playing one of my aggressive rock anthems as an opener and the shock waves pinned the conservative Neapolitans to the old wooden pews in terror. It was either going to be a real bad night or I had to think fast and make some changes. I remember well 18
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the process that began somewhere in the for monitors. Of course I am worshipping, middle of the first chorus and was completed but I am constantly trying to discern how by the song’s end. the congregation is doing. Are they with us, engaging in worship; or are we doing our “And this I pray, that your love may abound own thing, possibly leaving them behind? still more and more in knowledge and all As a worship leader you need to be aware of discernment…Philippians 1:9. “Wisdom the congregation and willing to do whatever is found on the lips of him who has it takes to help them enter into a place of understanding…” Proverbs 10:13 true, undistracted worship. If you look out Watching the congregation immediately at them and they have “termination dust” on after the bombastic trash can ending was like their heads, then you’ll know that the moment watching microwaved eggs that were blown has ended; assuming it ever began in the first up to 5 times their size quickly deflate upon place! the dinging of the “I’m ready” bell. They were Be prepared, both prayerfully and in practical shell shocked yet relieved that the tension preparation: song selection, charts, personal was finally over. By the look on their faces I’m practice, team rehearsal, etc. Put your time in sure some seriously doubted my salvation. and give God your very best. Find the balance I took my bass off, put it on the stand and between entering into worship yourself and in the friendliest manner walked to the front being aware of where the congregation is. of the pews and began telling them why I Just as we listen to each other as musicians, we do what I do. I told them about my family, also need to listen in the Spirit to where the our kids, and the years of ministry through people are; if they are with us, good…if they music that we were involved in. Fortunately, are not, adjust however you must. my wife Diana was with me and she looked a “My son, if you receive my words, and lot safer that I did. I shared some testimonies treasure my commands within you, so that and gradually watched them warm up to me you incline your ear to wisdom, and apply because of my heart for Christ. As the evening your heart to understanding; yes, if you cry progressed I mixed music with stories and the out for discernment, and lift up your voice for Word. The end result was a wonderful evening understanding, if you seek her as silver, and of ministry with a room full of new friends. search for her as for hidden treasures; then There is a balance between doing what you will understand the fear of the Lord, and you are called to do with Godly confidence find the knowledge of God. For the Lord gives and conviction, and being willing to discern wisdom; From His mouth come knowledge the climate in order to immediately change and understanding.” Proverbs 2:1-6 direction when needed. Discerning the times Having done it all, Worship! Hopefully relates to many things. For us, the musicians people will follow. If they don’t, or don’t and worship leaders, it means knowing who seem to…shake off the “termination dust” you are playing for and helping them find and Worship anyway! God. More recently I was playing bass on the worship team at our church when, in-between Originally published in Front Yard Worship services a team member, referencing the first Magazine – January 2008. Re-printed by service, asked, “How did you think it went?” permission. Thanks to Melissa Saulnier One of the front line musicians commented Not just a musical artist, Rick that he wasn’t sure the people were totally knows the business of music engaged. I thought for a moment and realized as well. Besides being a music that for me, in the back by the drummer, it publisher, artist manager and seemed to go great! I had my Shure E’5’s in, booking agent, he founded a solid mix from my Aviom mixer, a set list of and ran his own record label, some of my favorite songs to play, and a band UCA Records, in the 1990s that was excellent! I was in my own world, which led to a position for playing, worshipping and “feeling God’s five and 1⁄2 years as Vice pleasure” playing my ’64 P-bass. Being a band President, Creative/Copyright member and not the Worship leader gave me Development at EMI CMG in Nashville. There he license to do “my” part by playing well and managed a large songwriter roster and exponentially worshipping God through it. grew revenue through film and TV licensing, song However, when I lead worship I need to be promotion and print music development. He is much more dialed in to the congregation. currently on staff as the minister of Pastoral Care and I may be using a wedge instead of in-ears Visitation at Grace Chapel in Franklin, TN.
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Jesus Music Again
(and much more) with Veteran singer-songwriter Bob Bennett may not be on everyone’s radar, but he’s been very busy nonetheless—a Kickstarter album; House Call Concerts, oh and an album giving tribute to the great songs and artists of the Jesus Music Era. Spend a few minutes inside the life of Bob Bennett; you’ll be glad you did!
Aimee Herd: Bob, first let’s talk about the new project, Jesus Music Again. You caught the tail end of the Jesus Music Era after becoming a Believer; was that music part of what drew you to the Lord? Bob Bennett: It was. I actually worked in a secular record store at the time. My roommate, Dan Rupple—who was [later] part of the comedy team Isaac Air Freight—worked with me at the same record store around the time we both came to faith in the late ‘70’s. What happened was, because we were employees at a record store, we started ordering in Christian music. We actually had a better and wider selection of Christian music albums in this secular record store (it had a head shop and all kinds of stuff) than the Bible bookstore down the street. We know because we went down there and checked! It was very cool to introduce that music in that environment; to have those albums...it was really fun.
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Bob Bennett
by Aimee Herd
AH: And what a great position of ministry and outreach, to have that good a selection in the regular music store.
readily available [than just downloads].
efforts to live for the Gospel.
AH: So, how did the idea come about to put AH: Good word. So, you did the Jesus Music together a collection of Jesus Music covers? Again project with Billy Batstone and Alex BB: Well, and we found out something really BB: Initially, I was thinking of it in terms of a solo MacDougall. Had you worked with them at all in kinda cool. (And this has always been a part of album, and I was experimenting with some of the the past? my thinking) That the same people who came songs...but then I wound up sort of jamming a little BB: I had worked a tiny bit with Billy, and Alex in and grabbed a Children of the Day album, or with Billy Batstone. When it comes to the Jesus did percussion of some of my previous albums Second Chapter of Acts, Randy Matthews, or Phil Music artists—and Billy is one—I’m sort of like the so I definitely know and love those guys. I have Keaggy—these were the same people that were “kid brother.” I got in on the tail end of it, and all a group that I meet with every week in a private buying the Peter Frampton records, the Jackson these years later, people lump me in with Lovesong home, and they’re musicians; most of them play on Browne and other rock ‘n’ roll records. It taught and Keaggy and all those people, but the truth is, I Franklin Graham’s worship team, with the Tommy me that, although we have a tendency to think in was kind of at the end of that. Coomes Band, and other guys that I know. So, it’s terms of secular and Christian, when people live [But back to the idea for the album] I was messing really fun to hang out, talk and drink coffee, and their lives, it’s not as demarcated as that; it’s not as around one day with an old Larry Norman song, encourage and pray for one another. There’s a lot cut and dried. I got that education early on just of “shorthand” among the musicians, we have a lot working in a secular music store and seeing how and I thought; wouldn’t it be fun to take some of these songs, and pull them a little out of the of shared experiences and peculiar and common those sales went. cultural production of that age, and do them in the ways of looking at the world. (Laughs) Billy is a part AH: Have you, over the years, been able to maintain acoustic-folk style that I like doing? of that [group] locally, here in California, and I have and live out that kind of philosophy? Because as no doubt that Alex would be, if he didn’t live in a person becomes emerged in CCM it seems like So, when I started jamming around with Billy, it Texas. you might have to fight against compartmentalizing became clear that it was going to be a collaboration, and Alex MacDougall came on board to sort of AH: You guys must have some fun jam sessions things in your thinking. complete the trio that created the music. I wanted together in that group... BB: I think to do two things: create re-imagined, sort of BB: Y’know—not enough. I would like to have it i n i t i a l l y , reinvigorated versions, but also to harken people happen more, it is so much fun. You feel like a kid when I got back to the original artists and the original songs again when you get together with these guys—you involved with that we took such inspiration from. sit in a room and everybody pulls out their guitars. a Christian My fantasy—I don’t know if it will ever come to All of a sudden it’s not about doing any kind of record label, pass—I would love to release a deluxe edition of business, or preparing for a gig or whatever. It’s and began going just making music for the original reason that we to GMA each year; this album with all the original artists on one disc, had, which is our love of it. I became immersed and our [new versions] on the other disc. We’re not looking to replace anything; we think the best AH: Regarding the album, did you have any in that record genre and marketplace. You know, the good news thing that could happen is that people would like formula for picking which songs to cover? There is also the bad news in that we’ve made these songs as we’ve done them, but then they’d are so many to choose from. our separatist bed and now we’re lying in go dig out their records and CDs and go back BB: Well, we had to pick material that we could it. It’s my understanding—although I’m not and listen to the artists who really blazed these sort of “dress up” in our musical clothing, as it were. very widely traveled—that in other areas like trails and pioneered the genre, writing these great So, we weren’t going to be doing too many Rez the UK, there wasn’t a hard and fast rule saying songs. Band covers, or anything like that! (Laughs) But we “these are the secular guys, these are the Christian I don’t want us to have an institutional short had a big song list and we really did whittle it down guys” in terms of music. Everybody was just in the memory about this kind of stuff, I think it would be from quite a large list of songs that we thought same pool swimming around; hoping to get their a good idea to remember the sound track that was were worthy candidates. In fact, my half seriousrecords made and heard. the accompaniment to the Jesus Era: late ‘60’s, ‘70’s half joking statement about this album is that the Because we created a separate genre for music, and early ‘80’s. There’s a lot of great soundtrack set list will be as notable for what it’s missing as for what is there. Some will say—and I would even played to a separate audience, sold in separate music from that era. stores, and played in separate venues; there’s an AH: There really was, and that is such a great say—how can we not have a Malcom and Alwyn song on this record? And, why in the world would upside to that, but there is also a challenge that idea, Bob. I hope that happens. we cover Larry Norman’s “U.F.O.” instead of “I Wish we don’t get tunnel-vision in what we do and why BB: I hope so too. And the other vision that We’d All Been Ready?” Why would we take “Every we’re doing it. we have for this is to get this music out in a live Grain of Sand” by Bob Dylan instead of “Gotta AH: Prior to this new project, you’ve been situation, because I think it will—not only be a trip Serve Somebody”? keeping pretty busy... down memory lane—it will [remind] people that The answers to those questions are as varied as BB: Yes, it still takes me about 3 or 4 years in are my graduating class if you will, now firmly in the songs themselves. I think “Every Grain of Sand” between albums to release, but in 2009, I did a middle age with grandkids and have been in the is the finest song that Dylan wrote during the sort Christmas album. Before that, in 2002, it was The faith for 20, 30, 40 years; that this is not the time for of “Jesus trilogy”, if you will. He still uses a lot of us to languish in an armchair, this is the time for us View From Here. I did a project with a guitarist, John Biblical language in his songs, but with those three Standefer, who lives in Vancouver, Washington—a to run the race and finish well. There’s a reason why albums, for my money, that’s the song. So, even collaborative record with him in 2007. Jesus Music we’ve lasted this long, and why we’ve outlasted all though it’s counter-intuitive as to the song you’d the troubles that have come between our youth Again was finished in 2011, but we are just now select to represent Dylan in those works, that was hoping to get the physical disc out and more and now. So, if anything, we should redouble our
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the ballgame for me.
few minutes each, tried to make them our own.
We kind of got a “three-fer” with the song “Until AH: And if that double album happens, it will be Your Love Broke Through” because it was written easy to do what Mason Williams suggested. by Randy Stonehill and Keith Green, and my first BB: Well, I hope that the licensing and music version was by Phil Keaggy. So, we were able to business particulars don’t make that impossible, knock out three artists with one song. (Laughs) but that’s been my little secret fantasy project—not Then we did a cover of Blind Faith’s “In the so secret anymore. (Laughs) Presence of the Lord.” That was our nod to the AH: By the way, I like the new verse on your fact that during that era, Jesus mentions in songs cover of “Little Country Church,” and then a little were even making it into mainstream music. We Pastor Chuck Smith at the end, that was a surprise. were listening to [considering] “Spirit In the Sky,” BB: (Laughing) Well, Billy and I played that a although the theology was questionable which is why we didn’t do it. All these references to the couple years ago at a concert, and after we finished, Lord were making inroads even into popular rock [Chuck Smith] came out and said that. I found the ‘n’ roll. We asked Phil Keaggy if he would play guitar recording of him and I told Billy, “You know that has on that song [“In the Presence of the Lord”], and he to go at the end of our version, it has to happen.” said, “You know, when I got saved I listened to that So yeah, we’ve had some fun reactions to that. song constantly.” If there’s one guy who could be an AH: Bob, over the years you’ve played in absolute total stand in without embarrassment for churches, but you’ve also played a lot of nonEric Clapton, it would be Phil Keaggy. church places such as coffee houses. What do you AH: Oh gosh, absolutely. That’s such a great song like best about playing in that kind of a venue? too. BB: I think almost every Christian musician will BB: It’s one of those songs that [are evidence that understand what I’m about to say... It’s very much a the Jesus Movement] wasn’t just happening in our luxury and a blessing to be in church where people accept you right off the bat because we have the little corner, it was happening all over the place. Gospel in common. So, by and large, people want AH: And you managed to do “Oh Happy Day” you to do well before you even play a note. But, and “Soon and Very Soon” without the Gospel out in the world, where not everyone is not part choir feel to it—it was a different interpretation, of the household of faith and doesn’t believe what but you totally pulled it off. we believe, or hold dear what we hold dear—then BB: Well, probably the worst thing we could have the only currency in those situations is the songs done would be to try to out-do Andrae [Crouch] that we sing and the people that we are when or Edwin Hawkins in their own style. We just don’t we’re singing them. So it’s very gratifying to go have the musical equipment, and I’m not that guy! out into that situation and have my songs seem to But, again, we thought it would be fun to run these speak to lots of different people, not just fellow songs through the “acoustic funnel” if you will. Believers. Since I don’t write “church music” per se, There’s a wonderful quote that Mason Williams (even though there is a lot of Gospel and Jesus in has... he had the full version of “Classical Gas” that these songs by the natural way they come out, but anybody my age knows, and then about 2 or 3 because I don’t create church music for a worship albums later, he did a solo acoustic version, with no setting in the main, then it really is just storytelling. orchestra or anything. He wrote something very I think as long as you can tell a truthful story, canny on his liner notes, he said, “There are three people are responsive, even though what you’re things to listen to here; the original, the remake and singing about is not their trip, or their emphasis. I the difference.” That’s what I think is the most fun think people appreciate a good story when they way to listen to Jesus Music Again. Listen to the hear one. original, listen to our remake, and then have fun AH: Oh yeah, another example would be Harry comparing the differences. We took a couple of Chapin. incredible, absolute Gospel songs, and just for a
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BB: Great songs! And, part of what I’m [teaching on] at CMS is listening to great songs, because that’s how I think you go to songwriting school; by listening to good music. So many times, the great songs that we can listen to and learn from and experience artistically are not songs from a Christian perspective or sung in church. It’s just like an architect doesn’t only study church buildings. To the extent that our faith allows us to do so responsibly, as musicians, we don’t just listen to Christian things, we listen broadly. AH: That’s a very valid point. And on that subject of storytelling and folk songs, it seems to me there’s been kind of a return to the folk genre; in the mainstream with groups like Mumford and Sons, and in Christian music as well, with the likes of Jenny & Tyler... Do you feel like there’s maybe more of an open door again for the songwriting you do, and maybe even a tour in the future? BB: Well, my suspicion is that I’ll always be kind of a do-it-yourself guy—I’m pretty firmly planted in the Independent world now. But if more acoustic music came back into play...I’ve always kind of wished for my “Tony Bennett moment.” ...Where people say, “Hey, you’re an old dude, but we kinda like ya!” (Laughs) Who knows if that will happen or not. I know [right now] I’m probably playing to people who are mostly my age or a little younger. It would thrill me no end to play chapel services in colleges; to pull out my guitar with 3 or 4 other people who are young enough to be my grandkids and play music with them. AH: When you look at the music industry as it is now, do you feel like it’s in a better place because people are able to do more independently and it’s become much more acceptable, or is there still a big chasm between signed and Indy artists? BB: Y’know, I’d have to be dead honest with you and say I’m so far out of the loop that I’m not quite sure. From the little bit I do know, I think the ability to exist outside the concerns of a record company is a good thing. I have lots of people in record companies who like me, they may even listen to my music, but when they put on their “music business hat,” they can’t help me. They would like to, but it just doesn’t make sense. I’m not trying to be nasty in saying this, but we have to remember—when you’re looking at a company that sells records for
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a living, whatever good and decent concerns they may have, they’re about selling things. They may open the door and say this is all about ministry, but sometimes then you get shown the door when the math doesn’t quite add up. I think as long as young artists know and remember that [going in], so their hearts don’t get broken, then I think that’s fine. My advice to any young artist who is seeking to affiliate with a label is, never underestimate that the word “business” will very much characterize the music business; even the Christian music business. As long as your eyes are wide open to that, you’ll be in good shape. I didn’t get into this thing to earn a bunch of money and retire to a farm. I want to do this for the long haul. They’re gonna have to pry the guitar out of my hands, and sit me down and say, “There, there, there; here’s an afghan Mr. Bennett.” And my hero is like a Paul Simon—he’s making vibrant, great work into his 70’s now. AH: His latest album is amazing—and a lot of the songs seem to be touching on the subject of the Christian faith. BB: Well, he’s always had a fascination with Gospel music; with Jesus—you can go back all the way down the line in his works and see that thread. He’s always been a “spiritually inquisitive” fellow. AH: Since we’re on the subject of singersongwriter folk icons... as you look at the different artists who’ve been doing this for so long, if you could pick a couple or one person in particular to just sit down and jam with for an afternoon, who would it be?
where we’re wanting to hide under the covers and unplug the phone. I’ve always maintained that if I’m a Christian and I’m writing songs; that music needs to reflect the whole spectrum of life—not just the safe, Christianized, “in the church bulletin” aspect of my life. AH: They’ve got to be real. BB: And, one of the things I’m hopeful about is that we’re not only headed back toward acoustic music, but that we’re also going to be headed back toward storytelling. I wrote an article for the magazine a few years ago that I’ll expound on a little at the CMS Northwest; on what I consider to be the lack of storytelling. I think people are hungry for those kinds of songs and expressions. For better or for worse, I think it’s possible to get through an entire service where you’re singing songs and projecting lyrics up on a screen, and there’s not really any story being told. In some respects, there is a necessary transparency to leading worship, I understand that. If I’m leading worship in a service, people charged a dime for it. [My son] was over in Kuwait waiting to deploy to Iraq and I wrote that song and are not supposed to walk away saying, “The Lord, recorded it soon after. I actually sent him a copy He’s okay, but that Bob Bennett, he’s great!” If that when he was over in Iraq so he could hear it. He happens, I’ve failed miserably. But on the other actually had other Marines coming up to him and hand, we have these flesh and blood lives that we saying, “Is your dad the guy who wrote that song?” live... I think it’s interesting, if you look at how Jesus communicated, He did not lead worship songs (I’m (Laughs) That was pretty cool. not trying to cause trouble, I’m just saying), He AH: And he returned home safely...? didn’t lead congregational singing; He told stories. BB: Yes, he’s been discharged for two years I think we’re not supposed to jettison that form of now, he came home safely—he’s married and communication; I think it’s a mistake to do that. I’ve got my prayers crossed for grandkids. He’s a I try not to be cranky about it, but to be a photographer. cheerleader; I love to be a mentor and encourager
BB: Oh my... the list is long! That’s a hard question; I have so many favorites. I guess if I could sit down with someone in an informal session—what they call “in the round” just passing the guitar around— here are the guys I’d like to have in that circle: Paul Simon, James Taylor, Bruce Cockburn... There’s an English artist named Kate Rusby that I’m very taken with. She takes a lot of old English folk songs and sort of rearranges them and does wonderful things with them. Who else?... I mean, whenever I get a chance to hang out with Phil [Keaggy], that’s loads of fun. And he’s so gracious with me; he doesn’t make me want to break my guitar (laughs); he’s such a great guy and he loves playing with other musicians.
AH: So he took some of those really great photos I’ve seen of you...
BB: Maybe as a bonus track, but I’ve always wanted to keep it as a free thing, I’ve never
the blessing of the Lord and that the Spirit has entire career. The fact that I’m in partnership with got us in a good place. And then there are days Continued on page 42.
to young musicians who want to tell stories. Whether they want to do it in song, or make BB: Yes, some of the pictures on the new album. films, books or short stories, plays, or whatever We just finished the recording and we’re in the their form of expression. If they have stories to mixing stage this week for a new album called, Joy tell about themselves or that they make up, I Deep As Sorrow. This album will be released by want to be on the squad of head cheerleaders to Thanksgiving probably. This is a new solo album encourage them in their work because I think it’s a necessary one. of 11 new songs. AH: Well, take a minute and tell us a little about it.
AH: It’s such an effective form of communication.
BB: And why we would let that go is a mystery to me. I would just love to see younger musicians BB: Most of the songs are brand new, although a catch that vision. couple of the tunes were written over the years but just didn’t make the list [prior to the new album]. AH: Well, I’m really looking forward to hearing I’ve been fascinated by the fact that we can have your new album. theological discussions all day long on why the BB: It’s been incredible; I’ve sat on the sidelines To me, it’s always been about the songwriting, so world is an imbalanced place; why evil is rampant, I look at Joni Mitchell and Mac McAnally, Stephen and why people stare at the ceiling at night over for a while and watched people raise funds through Bishop, and even an unusual name like Andy difficult things, but hardly ever lay away because Kickstarter. I started a [Kickstarter] campaign Partridge of XTC; he’s written some incredible things are going too well. I understand that it’s the about two weeks ago [for the new album]. I put songs completely outside my genre—and Jackson way it’s going to be for now—but when you’re in it up for $7,500 dollars for 25 days and within 4 Browne would have to be on that list too. After all the trenches with all that, the discussions are not days we had raised the full amount—in fact we’re over $3,000 dollars over the mark right now. That these years, I’m still a real grateful listener to music. very satisfying. tells me that there are a pretty hardcore group of AH: I know it’s been a while since you wrote So, I wanted to create a body of songs that not people that want to hear these songs. I joked on “My Heart Across the Ocean” about your son only reflects the joyful side, but also reflects the one of my Kickstarter videos that it makes me want being deployed, but I have to ask if it will ever side that’s a little more difficult to get through. I to have one of those “Sally Field” outbursts: “You be included on a full project—it’s such a beautiful think as Christians, it’s rarely one thing, it’s usually like me! You really, really like me!” (Laughs) I’ve song. both-and. Some days we’re on top of it, and feel never had anything like this happen to me in my
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R U L E T H E S TA G E ™
selective hearing by Shawn McLaughlin
Beauty In the Curve Ashley Cleveland 204 Records www.ashleycleveland.com One could fill an encyclopedia-sized volume with superlatives for Ashley Cleveland and her amazing band led by husband, noted producer, Kenny Greenberg; and Beauty In the Curve is no exception. However, let’s just talk about a few salient points. First, Cleveland’s last project, the Gospel/blues drenched 2009 album, God Don’t Never Change has definitely left an indelible mark on the woman’s music and art. Although her usual alchemy of folk rock and southern blues based forms remains intact, the immediacy and grit of the latter project carries over into some of the artist’s most direct, faith based statements to date. There are a couple of covers of classic gospel/ blues nuggets like “Born to Preach the Gospel” and “Woke Up This Morning With Jesus On My Mind” which charm with lyrical simplicity and directness. However, Cleveland never eschews the impact that pain, doubt, and trial can have on one’s spiritual walk, clearly voiced in the album’s title track, which posits that it is sometimes the unexpected twists and turns of life that cause the most impactful growth and, ostensibly, obedience. Also demonstrating a view that Jesus is present in ALL facets of the believers’ life are cuts like - the empty nest homage to her son Henry (yes, the same Henry who didn’t care on Bus Named Desire) “Beautiful Boy” - and the cautionary tale, “Thief At the Door” which begins as a serene folk-laced number before adding an outro that marries Beatle-esque chord progressions, funky riffing, and typically incendiary solo work from Greenberg, accompanying Cleveland’s passionate wailing to the song’s conclusion. A highlight of the set is “City On a Hill”; a narrative of the believer’s desire to rise above the hopelessness of sin’s tyranny and be a light that clearly shines amidst the world’s darkness and despair. The cut highlights Cleveland’s first rate band as the arrangement builds from the start, beginning with Chad Cromwell’s rock solid drumming for 8 bars and repeating the pattern, adding another element each time. Greenberg’s blues-informed playing shines on the track and Hammond B3 artist, Reese Wynans, skillfully drops golden riffs at opportune 26
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moments. The phenomenal Michael Rhodes again displays why he is the best bassist in the business with a rhythmically audacious line that slinks, propels, and cajoles, while adding a melodic presence that lifts the song to exciting heights. In short, the cut rocks. Still, the project’s real star is Cleveland herself, perhaps the most instinctive, emotional vocalist that Christendom has yet produced and, oh yeah, she also plays a mean acoustic rhythm guitar, prominently displayed throughout Beauty In the Curve. If you haven’t yet had the privilege of experiencing the force of nature that is Ashley Cleveland, this record is as good a place to start as any and is sure to garner her usual Christian Rock Grammy and Dove award nods as well as appearing on many end of year Top 10 lists; but really, her output has been so consistently strong you really can’t go wrong with any of her work. Leonard the Lonely Astronaut Andrew Osenga www.rabbitroom.com An early candidate for the best album of the year, Andrew Osenga’s impossible to categorize Leonard the Lonely Astronaut was recorded in a makeshift, spaceship shaped studio built in a Nashville building near Osenga’s home. Irony abounds on the remarkable project as the space motif contrasts the achingly poignant story of a man who tries to cope with the sudden death of his estranged wife by flying into space to try and numb his damaged psyche and deal with very difficult, very heavy emotions. Thankfully, Osenga is a master of word and verse, and the humanity of his lyrics gives real insight into this portrait of brokenness, surrender, and restoration. The music alternates between amiable folk/ pop (“Ever and Always”) 80’s influenced indie rock (“Only Man In the World” recalls Roxy Music and Gang of Four, “Tower of Babel” marries Elvis Costello and Jackson Browne and “Shooting Star” could pass for the new Killers single) and atmospheric mood pieces that help the narrative segue seamlessly from one stage to another. This is highly recommended to say the LEAST. Also, try and pick up the out-takes collection, Solar Wind which features 6 more songs including the killer, Janes Addiction crib, “Space Junk”.
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No Man’s Land Charlie Peacock Twentyten music A musical and psychological ‘tribute’ to Peacock’s roots in Mystic, Louisiana, No Man’s Land pulsates with the swampy, musty atmosphere of the deep-South. Some of the lyrics read like the dark, disturbing imagery in a Flannery O’Connor story…..the word “haunted” accurately describes many of the thoughts and much of the music on the disc. The first single, “Death Trap”, sounds a lot like an outtake from the Elvis Costello album, National Ransom, while providing a lyrical parallel to James’ scriptural warnings about the power of the tongue. “Mystic” is ethereal and earthy at the same time, as it recalls Peacock’s past while clearly propelling him into the future with a reverb drenched “swamp” vibe to the guitar tone, echoing the great Marc Ribot’s work on T-Bone Burnett’s productions. In “Only You Can”, doubt creeps into the picture as Peacock is brutally honest in a time of struggle: “Is there no great God in heaven, watching the drama go down? I used to trust there was, now I wonder where He is.” Ultimately, he comes to the conclusion, in “Kite in a Tree”, that “If belief is just a construct, my own little thumb suck / Then I’m a kite in a tree.” Rife with the rolling rhythms of the south…some delta blues, a lot of New Orleans jazz/funk, No Man’s Land sees Peacock creating a vivid picture of his roots with music that is impressionistic, filled with hooks, and perfectly suited to the difficult process of soul searching his lyrics depict. StompTown Revival StompTown Revival Save the City Records Made up of rock/ worship artist, Brandon Bee and Circleslide lead singer, Gabe Martinez, and formed out of a relaxed time of loose collaboration, StompTown Revival draws from both artist’s boyhood influences of blues, Americana, and gospel music and adds some modern currency, resulting in a swampy, elemental brew that recalls current bands like the Civil Wars, Mumford and Sons, and The Black Keys. The duo’s moniker is derived from a small, cigar-shaped percussion instrument
used in rural musical forms, and which is used prominently on the project. The record sounds terrific and, though the arrangements are simple – rich acoustic guitar, distorted electric, harmonica, stompbox and not much else, there are enough instances of ‘ear candy” to lift this above the normal Americana release in terms of tunefulness, thanks to the boys’ pop songwriting smarts. The vocal interplay between Bee and Martinez is exemplary, with Bee regularly taking the higher harmony and creating an almost celestial presence that adds depth to Martinez’ more earthy yowl. The duo’s implementation of lush beds of background vocals creates an exquisite tension in contrast with the starkness of the instrumentation. The lyrics are also direct and simple, but with a poetic edge that saves them from banality. Interestingly, this music was conceived as a lark – just two friends getting together to cut a few tracks for fun – but the duo definitely hit upon something in the studio and, based on the evidence on this 6 song EP, they should be in it for the long haul. The McGuire Side Gabriel Wilson Maple Bar Records For those expecting the retro-rock of Wilson’s classic Rock & Roll Worship Circus days or the more introspective, ambient rock of The Listening….well….get ready for quite a departure. The McGuire Side is a marvel - an intimate, singer songwriter album that draws inspiration from sources as diverse as Dylan, Cash, Petty, and southern gospel. The album title refers to the celebrated Southern gospel family The McGuires – Cornelius, Dony and Reba, and The McGuire Brothers, and, by extension, the Rambo family who are practically Southern Gospel royalty – and reads like a personal journal entry. It seems that Wilson’s biological father was one of Cornelius’ sons. When Wilson was a baby his father and mother divorced. He grew up with a step-father that he loved, but always felt that there was an essential part of his self missing. The McGuire Side, then, is the story of how he came to realize and reconcile with his heritage. The title cut begins the story and richly details his upbringing up to the point he discovers, as an adult, his faith-based musical lineage. It clearly reveals that God was the one constant ‘Father’ in his life, a fact that should relate well with his listeners. “The McGuire Side” and “Rocking Chair” allow the listener to get a birds eye view of Wilson’s circumstance in regards to his family’s separation, while “How to Keep a Girl” relates advice given to him by his earthly father, using lessons learned by his own mistakes. The second half of the album is
comprised of songs written by his grandfather, father, and one song from Wilson’s own past, the re-worked Worship Circus cut, “Glorify the Son”. The inclusion of these songs neatly ties up the familial and musical link that exemplified Wilson’s searching nature while growing up, bringing not only a sense of closure, but also showing a picture of peace and comfort that had evaded him for so long due to confusion about his earthly genesis. As you will notice in this issue, there are several projects that are clear candidates for year end recognition as 2012’s best album. This is certainly one of them, as any of us can relate to the feelings of abandonment, restoration, and redemption so convincingly portrayed on The McGuire Side.
Blue Mountain Brandon Heath Essential/Provident/Sony While Heath could have easily continued on the clearly commercial path of his last record, He, thankfully, throws his audience a bit of a detour on this country and folk influenced charmer. The project takes an allegorical vein, while drawing on the real life experiences of childhood trips to his grandparents home in the Appalachian Mountains. This rootsiness is clearly reflected in the rural sounds that emanate from most of the songs on the disc. While Heath never loses his melodic sensibility, I wish he (or his label) would have trusted enough in his vision that the presence of lite, hip hop flavored
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percussion didn’t strike them as a necessary addition, as it blunts some of the natural flow of the music. However, his strong ability to weave redemptive threads through tales of flawed characters, both real and created, speaks volumes toward his ability to impact the believer in an authentic way. Miracle Third Day Essential/Provident/Sony Third Day mixes things up a bit on their new long player, Miracle, bringing on noted knob twiddler, Brendan O’Brien, to give the band a ‘brighter’ - cynics could say ‘commercially viable’ - more varied sound as the veteran band adds elements like harmony vocal backgrounds (a real plus) and gang vocal choruses; because, God knows, Christian radio needs a few more of those. While some of the changes seem rather calculated and, perhaps, label mandated, the biggest change is the one that holds the most promise: The band has really upped their game in the songwriting department. The album opener, “Hit Me Like a Bomb” survives a bombastic chorus with truly tough guitar sounds and a minor key chord structure that
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is quite alluring. “I Want to Believe In You” benefits from tasty slide accents, solid piano, and those harmony vocal arrangements; while “The Victory” rocks hard with a syncopated funky rhythm before a sudden switch to a straight rock beat. Lyrics are fairly typical church oriented fare, with a few tunes delving into more introspective territory. This is not a bad project by any stretch of the imagination, but it definitely will appeal more to fans of the populist Offerings projects or Wherever You Are over the more challenging, Southern rock styling of their self-titled debut, Time or Move.
and influenced by CSN, The Eagles, and Jesus Movement bands like Love Song, The Way, and Mustard Seed faith. The lyrical content is plain spoken and direct, but really refreshing in its candor. “Judgement Day”, in relating the efforts of one friend witnessing to another offers this lyrical bon mot as the unsaved friend responds “Don’t bring that crap up again to me” before later, at the judgement day asking “Why did you not say?”. We Have Not Heard will likely be relegated to a ‘niche release’ but it would be a shame to miss out on the lovely melodies and genuine emotion offered by James and Rebecca Mileti on this beguiling project.
We Have Not Heard The Sunrise The Winchester Records www.thesunrisemusic.com For those not consumed by the need for full tilt premium production values, we have the newest release from a charming band of 70’s Jesus music revivalists who have made enough of an impression with their musical and spiritual authenticity to garner contributions from the legendary Phil Keaggy on 3 tracks, as well as former Crosby Stills and Nash drummer, Joe Vitale on the title cut. The music here is definitely California cool
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Shawn McLaughlin is a hard working dedicated, tireless worshipper of Christ
CHRISTIAN MUSICIAN SUMMIT WORKSHOPS AVAILABLE ONLINE... FOR YOURSELF or FOR SHARING WITH YOUR ENTIRE TEAM.
CMS@theCHAPEL 2012 • Christy & Nathan Nockels - from generation to generation • Gregg Bissonette - the servant drummer • Brenton Brown - thoughts on songwriting • Norm Stockton - musical styles and the worship bassist • Tom Brooks - keyboards (pt 2) • Bob Halligan Jr - songwriting • Brenton Brown - worship band workshop • Rick Cua - when commitment is there, but skill is not • Jon Cook - live streaming your church • Scotty Murray - guitar tones and tricks • Daniel Ornellas & Ben Showalter - bass & drums • Doug Gould - digital audio mixers for the non-megachurch • Jerry Gillis - keynote messages • behind the scenes...
CMS NASHVILLE 2012
• Brenton Brown - worship band workshop • Ian Eskelin - songwriting • Dave Cleveland - number system/guitar • Tom Jackson - live music production demonstration • Ron Block - music & identity • Tom Hemby - worship guitar • Daniel Ornellas - bass guitar • Jim Daneker - keyboard gear • Jason Ingram & Paul Mabury - songwriting • Jimi Williams & Brenton Brown - New Song Café • Leann Albrecht - vocals • Jerry McPherson, StuG, Tom Hemby, Tom Lane - guitar tone • Steve Taylor - songwriting • Cindy Morgan - songwriting
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One of our favorite things to do is to look for great gifts for you to consider for your significant other, band mates or for yourself here at Christmas time. In fact some of our readers have been known to hi-light a few of the items in this list and post it on the refrigerator door just to make sure the hint doesn’t go unnoticed. We use a wide range of prices and brands. And as a disclaimer right up front – if you are one of our advertisers and we didn’t list any of your wonderful products please don’t be offended. We still like your gear (and advertising :) a lot. We just only have so much room and there is a ton of products out there to choose from.
50 Great Gifts American and Western microphone stands. Use your iPad on stage hands-free. $9.99 Duck’s Deluxe: “Dial A Note - Dial Harmony” Starts with the “Circle of Fifths” and then provides an understandable presentation of music theory, chord building and harmony creation. $13.95 String Swing: Wood Guitar Wall Hanger – Most guitarists can actually use a couple of these. Easy to reach your guitar, bass or mando and creates a nice display atmosphere. $14.25
Hal Leonard Publishing: Worship So without further ado… here is this year’s Musician! Presents… list of great gifts for musicians! We have used our line of books by retail prices on the list for consistency but several of our friends and everyone repeat after me, “Never pay retail!”. writers… Sandy Hoffman, Tom Lane, Mike Overlin, V-Picks: Adds tone and warmth to your Tom Brooks, Norm sound. Also as your flesh warms us to them Stockton, Tim Carson, V-Picks start sticking to you fingers so you will Doug Doppler and Carl drop less picks to boot. $4.00 each Albrecht. $14.95 & up. Tone: Finger Ease - Stop “string talk” dead in its tracks! This string spray allows for much smoother guitar playing. I was selling this stuff 30 years ago in a retail music store. $5.35
Option Knob: Allows a musician to control an effects pedal by using your foot to adjust the sound while performing. By simply removing the factory knob and replacing it with the Option Knob, the player can use his toes to tap the wings of the Option Knob left and right to alter the effect. $9.95
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eMedia Music: Grow your guitar vocabulary with these training DVD’s, “50 Texas Blues Licks”, “50 Blues Rock Rhythms” (Christian guitarist Jeff Scheetz teaches this one) and “50 Acoustic Blues Licks”. $24.95 ea.
Vintage Guitar Magazine: 2013 Price Guide For the person who wants to keep up on the values of vintage instruments, guitars, amps, effects and more. A lot of good info packed inside. $29.95 Ultimate Support: GS-1000 stand holds your guitar (or bass or mandolin) by the headstock, self-opening yoke makes putting your guitar on the stand a one-step operation… contact surfaces protects your axe’s finish. $49.95
Anytune Pro HD: iPad app. for learning new music from audio files with comprehensive speed/pitch changing and bookmarking plus ability to loop and ramp up speed. $14.99
Axetrak Pick-up Tester/Sampler: Really smart idea here. Audition any pick-ups in your guitar without tearing it apart. Every guitar repair person will want one of these too. $79.95
Planet Waves: Ebony bridge and end pins replacement set - made from high-quality ebony and upgrades any acoustic guitar. Made from solid ebony, enhancing your guitar’s tone and appearance. $18.99
ProMark/Evans: D’Addario is inviting drummers to buy a brick of ProMark hickory 5A wood sticks and get a free Evans coated 14” G1 snare drum head. $86.40
SpiderArm: iPad “mic stand” adaptor - ergonomic and logistical control… this adapter fits all 30
Hal Leonard: Play Harmonica Today! Complete Kit features the Level 1 book/ CD pack and the DVD in the popular Play Today! Series, plus a high-quality Hohner Bluesband harmonica. $22.95
Pick Punch: Standard 351 ($24.99) Makes standard size guitar picks out of anything made of flat, flexible plastic (like old credit cards). Great for gadget-loving guitarists. $24.99
Fender: Make History Pick Tin - 36 shell celluloid guitar picks includes 6 thin, 24 medium, 6 heavy picks in the classic shape $14.99
PicStix: An adhesive gel strip designed exclusively to hold guitar picks in place anywhere on your guitar, amplifier, or other surface. $5.49 for 2 strips
IK MultiMedia: iGrand - a concert-quality piano app for iPad that features 17 different world-class sampled pianos. $19.99
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Tom Jackson: Live Music Method. This comprehensive book will help give you a backstage pass to a successful music career. $99.95
for Musicians Pahu International: Black Widow Drum Web is a drummer-designed drum accessory that prevents any drumset from slipping, sliding, or moving under even the most aggressive playing. It also simplifies and streamlines set-up, tear-down, and transport, giving the drummer more mobility than any rug, carpet, or mat on the market. $99.95
IK MultiMedia: iRig Keys. MIDI keyboard controller that allows you to connect directly into any Mac/PC computer or iPhone, iPod touch or iPad. $99.99 Fender: Pro Series Hardshell Tweed Case for Strat or Tele electric guitar with plush interior, two accessory compartments, chrome hardware and two locking latches. $139.95 THD: Yellow Jacket tube converter… specialized adapters that permit the use of EL84/6BQ5 power tubes in place of 6V6-, 6L6-, and EL34-family tubes and 7591 types. $140.00 Overtone Labs: Tune-Bot, the first electronic drum tuner measures a drum’s pitch, not tension, allowing the drummer to tune musically instead of mechanically. $149 TC Electronic: Arena Reverb Pedal 10 reverbs inside this true bypass pedal as well as TC’s Toneprint feature (load the custom effect through your smart phone right through your electric guitar pick-up – really? Yes!). $204.00 Orange: CR20LDX Crush Combo Amp - onboard digital effects, 20 watts, switchable overdrive, master volume, aux input, built-in tuner, 8” speaker, solid state. $219.00
Pork Pie Percussion: Round Drum Throne - comfortable seat is made to support large drummers. Doublebraced legs keep the stool steady. $245.00 Peavey: Power Slide Guitar. Ergonomically designed for maximum playability… a versatile electric slide guitar for a good price! $249.00 Roland: VT-12 Vocal Trainer - a compact practice and warm-up tool for vocalists. With its visual pitch display, built-in exercises and backing tracks, and twovoice support, the pocket-sized VT-12 is an all-in-one training kit and must-have companion for all singers. $279.00 K&M: Guardian 5 Guitar Stand portable guitar rack for up to 5 guitars for studio, stage or home; suitable for acoustic, electric & bass guitars. Protects them from contact damage with other instruments in the rack. $289.00 DigiTech: JamMan Solo XT featuring true stereo looping and an array of new features including JamSync, Dial-In BPMs, Micro SD interface and selectable stop modes, all in a single, compact stompbox. $309.95 Zildjian A Custom Crash Cymbal – natural and bright with great overtones… Vinnie Colaiuta helped develop these. $318.00 and up Various sizes.
Vox: AC4TV 4W 1x10 Tube Guitar Combo Amp Cream - Class A with EL84 power tube and features a 12AX7 powered pre-amp driving a custom Celestion 10” speaker. British top-end tone. $350.00 Kala Brand Music: JTE-2TS - a tenor sized ukulele with a design that is innovative yet reminiscent of a classic archtop guitar equipped with a custom active EQ system that provides great sound. $415.00 Yamaha: THR10 Stereo Amp/Recording Interface -10 watt (5W+5W) with 5 amp types (Clean, Crunch, Lead, Brit Hi, Modern), 8 effects. Lot’s of flexibility. $460.00
Roland: KC-150 Keyboard Mixing Amp - 65W amp with a 12” speaker and piezo tweeter, 4-channel capability, 2-band EQ, XLR mic input, and RCA stereo auxiliary input. It also has a subwoofer… Wow! $499.00 Novation: MiniNova keyboard - a powerful yet compact synthesizer. Comes with 37-note mini-keys, powerful sound and effects engines from their UltraNova synth; new VocalTune feature with vocoder and gooseneck mic. $624.95 Hofner: Icon Series Vintage Violin Bass Spruce top, flamed maple back and sides with set neck that will give you the warm, round tone you expect from the semi-hollow violin bass. $679.00
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Washburn: R314KK Parlor Acoustic Guitar Vintage Natural with a mahogany V-neck that offers ample dexterity when chording up and down the rosewood fingerboard. Based on their model from 125 years ago. $712.00 Kentucky: KM-630 Standard Mandolin - a Loar-inspired F-style maple body with multi-ply binding and solid spruce top and long-scale maple neck with extended 29-fret bound ebony fretboard $850.00 Gallien-Krueger: MB212-II 500w 2X12 Ultralight Bass Combo Amp – 500 watts of powerful bass tone courtesy of 2 - 12” bass drivers. And it is light to carry! $999.00 Kamaka: HF-3 Tenor Ukulele - Solid Koa top, back, and sides, made in Hawaii. Superior handcrafted instrument. 18 fret (14 to body) rosewood fingerboard, rosewood bridge, pearl Kamaka logo in headstock.17” scale length. $1,245.00 Bedell: Performance OH-12-G Parlor Acoustic Guitar Gloss/Natural - made of solid AAA African sapele for the body, top, and sides. Sapele is very similar to mahagony as a tonewood. $1,335.00
DW: Performance Series 4-Piece Shell Pack - North American Rock Maple HVX proprietary shells for warm, projecting sound with deep, punchy fundamental tones for stage or studio. $2,617.00 Guild: F-512 Jumbo 12-String Acoustic Guitar - Sitka spruce top with Indian rosewood back & sides for shimmering highs, singing mids, and a warm, focused bass response (ask Doyle Dykes about this one) $3,799.00 Yamaha: MOTIF XF8 88-Key Music Production Synthesizer loaded with 741MB of internal Wave ROM that includes incredibly realistic pianos and acoustic instruments and vintage synths. $4,030.00 Martin: HD-28V Vintage Dreadnought Guitar pre-war features into Herringbone D-2 format with grained ivoroid bindings, forwardshifted scalloped bracing, butterbean tuning machines, and diamond-andsquares fingerboard inlay. $,4399.00
Rickenbacker: 4003 Bass Fireglo - ringing sustain, treble punch, and solid bottom end with the distinctive curved body shape. $2,159.00 Deering: Boston B-6 6 String Banjo Guitar Heavy steel rim also functions as a tone ring. White-bound mahogany neck & resonator with satin finish, 1 3/4” nut, ebony fretboard with seed & vine inlays. $2198.00 National: Reso-Electric guitar - A Jason Lollar P-90 pickup sits in the neck position, and a Highlander piezo transducer is fitted under the saddle to deliver that swampy blues tone. Spun cone. $2,500.00
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Gibson: J-200 Standard Acoustic-Electric Guitar – Sitka spruce top, Eastern curly maple back & sides, giving a bright and crisp tone expected from a Gibson Super Jumbo. Gold Grover Rotomatic tuners. $5,073.00 #51 Bonus Round: ______________________ Fill in the blank here. Now you can’t say I forgot to list what you really wanted! Merry Christmas to you all!
Chris Tomlin and Collings Guitars
Chris Tomlin and his 1999 Collings OM 42 SB
Serious Guitars | www.CollingsGuitars.com | (1) -
The Sense of it All by Keith Mohr & Sue Ross-Mohr
There are five recognized methods of perception, commonly known as the five senses…sight, sound, touch, smell and taste. What a cool way that God has put into place for us human beings to communicate and sense the world around us. So what do these have to do with your singer/songwriter career? Well, let’s break down the first three and apply them in a way that will help you, the singer/ songwriter, enhance the way that your song and brand can be better communicated to the Universe. SIGHT The defining essence of the sense of ‘see’ has changed exponentially in recent years, due to the ever-growing technology of the visual. There is so much to view through the multitude of television channels, vast Internet spaces, moving billboards, photo media, and the “etc.” go on infinitely! The choices are infinite. Sign, sign, everywhere a sign! With that in mind, as a singer/songwriter there needs to be, more than ever, laser focus on the visual branding of your ministry/business career. Technology has given us unprecedented access to visual communication. From EPKS’s (Electronic Press Kits) to photos to the visual of your online presence, you need to grab your audience at “hello”. One in five of your viewers are gone and on to another site before they even finish the first sentence. Your tag line needs to let them know the why of what you do in five words or less. When it comes to video, a study by Visible Measures states that 20% of online video viewers click away from a video in the first 10 seconds. That sure puts a lot of pressure on marketing your song and ministry. Knowledge, though, is power. Knowing all of the above should not overwhelm you, it should motivate you. Take the observations and research that have been stated and apply them to your visual. Put yourself into the eyes of the viewer and consider what would make them stay long enough to listen.
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SOUND Whether it is a song, a painting, a photograph, etc., there is an attachment to the creation that is only truly understood by the artist that designed it. For a songwriter, they have written, sung, composed, rewritten, tweaked, and when the song is completed, they can’t imagine changing anything. As artists ourselves, we understand that. We also understand, though, that creative and constructive reviews from your contemporaries and peers will give you more of an insight into what others hear when they listen to your music. Maybe it is a vital piece that you have missed in the creative process, due to the fact that you are so close to the project yourself. Just as with the visual, you have a small window to grab the attention of the listener. One of the greatest suggestions that we have seen singer/songwriters implement is research. Utilizing ten individuals to give unbiased criticism of their song. Hiring two industry professionals to critique and give suggestions, and asking eight (8) people within your genre to evaluate the song and give their ‘thumbs’ up, down or sideways. If you are the only one who likes your song, no one else can appreciate it. With that being said, it is the day of the ‘single’. It makes more sense to put what funds you have into developing a single that is produced, mixed, and mastered with excellence, than to have 10 songs that fit in the category of ‘almost’.
that were powered by batteries and placed them in and around the chandelier, and then she positioned her CDs, each wrapped with a white velvet ribbon in an artistic fashion within the chandelier. On each side of the chandelier were headphones with disposable covers that were connected to mp3 players for her audience to listen and re-listen to her music after the event. Each of the above senses was utilized. She took a step back and looked at how each sense was going to play into presenting her music. She stated that not only did her music sales go up, but people also remembered her presentation and stayed at her table longer than previous events, thereby giving her a chance to connect with them longer and more intimately than ever before! We have just barely touched the surface when it comes to employing the senses to promote and market your music, but we hope that this conversation has sparked your creative juices and alerted you as to how you can apply these particular suggestions. We have reached a bit outside of the box, but know that when put these to use in your individual box, the unique presentation will make your music memorable long after the last note has played. Creatively His, Keith Mohr and Susan-Ross Mohr INDIEMECHANICS www.indiemechanics.com
TOUCH The nerve endings in our body are awakened and heightened when something is placed in our hand. It has been said that when we touch something, we remember it much more and in more detail than when any of the other senses are in place. If that is true, how much thought have you put into the sleeve that encases your music, the cloth that covers your merchandise table at an event, the item that holds your CDs that are for sale. One of the artists that we consulted with took this information to heart. She purchased an antique chandelier with glass crystals. She placed this in the center of her merchandise table, bought small candles
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Keith Mohr and Sue Ross-Mohr have years of experience serving independent Christian artists, musicians and songwriters. Keith founded www.indieheaven.com in 2002, the leading portal for Christian independent music. Sue RossMohr founded www.theinnervizion.com in 2003, a creative promotions /marketing/ consulting service to individuals and companies worldwide.
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© 2012 OnBoard Research Corp. Photo: Will von Bolton.
I have been teaching guitar now for 47 years, sounds incredible huh? I started at 14 with my Mom driving me to student’s home and having students come by my house. (I needed a job and having the guitar in my hands seemed better than flippin’ burgers). Next I was teaching at music stores, then guitar schools and colleges, clinics & workshops, writing magazine articles and books, and now currently teaching via the web with GuitarCollege.com and 99CentGuitarLessons. com. Along with teaching I’ve also always been a player: live gigs, studio gigs, church, and a little roadwork. Now a new season is on the horizon where I’m out playing and writing more and more. I’ve asked Bruce if we could take a hiatus from this article, and he’s agreed. So, this being the final article for a while, I’d like to leave you with a plan of attack to conquer your guitar playing goals.
I’d like to leave you with a study plan in two areas, music theory and guitar technique. One enhances the other and they should be studied simultaneously. The information is out there, on my websites and by other means, just be sure to study it in order. Music Theory Music’s alphabet, 1/2 steps & whole steps, sharps & flats, chromatic scales, major scales & keys, tonal centers, relative minor sales & keys, cycles of 5ths, cycle of 4ths, intervals, triads, diatonic chords, tonality and modality, dominant 7ths, chord construction, resolving and deceptive cadences, chord families, diatonic harmony & substitutions, seventh chords, inversions, bass movement, secondary dominants, modulation, harmonic and natural minor keys, modal interchange, embellished and altered chords. Also include music reading and ear training.
Looking back I’ve had the privilege of helping tens of thousands of students, but I really believe they have helped me more than Guitar Technique, Single Notes, and I’ve helped them. I been forced to focus my Chords thoughts, develop systems of learning, build Proper left and right hand position, picking my guitar technique, and study music. technique, chromatic scales, fretboard One common problem I see in students, mastery, major scales, cycle of 4ths, the caged especially in today’s overflowing market system, chord shapes & inversions, open and of guitar videos, books, magazines, etc. is closed voicings, intervals, sequencing, modes, that it’s hard to find an organized plan of the blues scale, embellished and altered study. The typical student buys a guitar, chord construction, arpeggios, harmonic and takes a few lessons, buys some books and melodic scales, altered scales. only gets maybe ¼ of the way through, then buys a video where the artist leaves them in the dust after the first few minutes. He also Work through the lists and master each item spends hours watching Youtube videos that and then move on; you’ll become a better are either too easy or too hard and typically player, musician, and a sharper tool for the too short to learn much from. It’s all what I Lord. ‘Till we meet again, may God bless your call disjointed learning. In addition, the hard work. fundamentals aren’t stressed enough to get a solid foundation to build upon to get you where you want to go. You couldn’t learn to Rich read if you never learned the alphabet, and you can’t learn to add or subtract if you don’t know how to count. Music also has a logical Rich Severson, guitarist, clinician, learning progression and I’ve witnessed that author, band director, former when guitar/music education is presented GIT instructor. in the correct order learning is fast and To preview Rich’s music and guitar educational products go productive. to www.GuitarCollege.com and www.99CentGuitarLessons.com
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Ask Joe by Joe Riggio
Q A
What is the “effects loop” for in my guitar amp? Should I be running my effects through it?
An effects loop is an access point to the signal flow of your amp, placed between the preamp section and the power section. It is usually comprised of 2 jacks: an “OUTPUT” or “SEND” from the preamp, to give signal to an effects device and an “INPUT” or “RETURN” to bring the affected signal back in to the amp. They came into popularity during the 80’s, when guitarists were using a lot of rackmount style effects, and are primarily useful when you are using the preamp section of your amp to create it’s own distortion, therefore keeping the effects from being distorted. These days most professionals do not use them, especially if using a pedalboard for overdrive and distortion. Some players still do like running reverbs through an effects loop, but if your amp is set to a fairly clean This creates a load that is double that of the setting, it’s really not necessary. individual speakers. For example: two 8ohm speakers wired in series create a 16ohm load combined. How do I know what impedance load my speakers When wiring 4 speakers together, think of them as 2 pairs, and then wire the pairs are wired to? together in order to create the desired impedance. Basically there are 2 ways in HELPFUL HINT: if the terminals on your which speakers can be wired speakers are not clearly marked (+) & (-), use a together in order to create a 9 volt battery to test them. The speaker cone combined impedance: Series will pop out (instead of in) when the (+) and and parallel. (-) contacts match those of the battery. In parallel, the positive(+) terminals are all wired together and the negative(-) terminals I just changed the strings for are all wired together, including the respective the first time on my brand terminals of the jack. This creates a load that is new Stratocaster. I installed a one-half the value of each individual speaker set of .010-.046 strings and (or combination of speakers), assuming that now the bridge is sitting much each speaker is of the same impedance. For too high, making the guitar example: two 16ohm speakers (again, or unplayable. Did I ruin something? combinations) wired in parallel will create an 8ohm impedance load combined. Don’t worry, all can be made right again. The Stratocaster In series, the positive(+) of one speaker is bridge design is based on a wired to the negative(-) of the other and very fine balance between the remaining open terminals from each are string tension and spring wired to their respective terminals of the jack. tension. As soon as the
Q A
Q A
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balance is thrown off by one of those elements, in your case: more string tension from heavier strings, the bridge can lift significantly. Your guitar was likely shipped from the factory, equipped with .009-.042 (extra light) strings. They do this so the guitar feels easy to play to the inexperienced player on the sales floor. The spring tension is adjusted to be balanced with the extra light strings. I would recommend taking your Strat to a trusted guitar tech to have it set-up for the .010-.046 string gauge. There are other adjustments that will likely need to be made as well to get it back to playing properly.
Joe Riggio is a professional guitar repairman/technician and recording engineer, based in Tacoma, WA. He owns and operates “Service Guitar Repair” and “House Of Sound Recording Studio” He has a deep love and knowledge of vintage guitars, as well as modern and loves to share his passion with others. He can be contacted at ServiceGuitarRepair@ gmail.com, website: www.ServiceGuitarRepair.com
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Christmas Classics Last issue we spent some time reencountering on guitar with a set of 6 steps to get back into the swing of playing after a break. Hopefully that helped you get ready for what’s to come. With the holiday season approaching you may be called to play a few more church services along with family gatherings, etc. I want to encourage and remind you that this is the season we do what we do, to celebrate the birth of our savior Jesus. I have put together a few easy Christmas Carol arrangements for you to play for the Holiday. AWAY IN A MANGER is in ¾ time, count 1 2 3 / 1 2 3 … I start the “1” with the bass note of the chord followed by full chord strums on “2” & “3”. Repeat the same pattern for additional verses. E A E Away in a manger no crib for a bed, B7 E the little Lord Jesus laid down his sweet head, E A E The stars in the sky looked down where he lay, A E B7 E The little Lord Jesus, asleep in the hay
SILENT NIGHT is also in ¾ time and uses the same rhythm as above and repeat. C C G7 C Silent night, Holy night, All is calm, All is bright, F C Round yon Virgin, Mother and Child F C Holy Infant so tender and mild, G7 C C G7 C Sleep in Heavenly peace, Sleep in Heavenly peace. GO TELL IT ON THE MOUNTAIN is a fun song in 4/4 time and can be played in several styles. Guitarist Rev. Jimmie Bratcher has a great acoustic slide guitar version in open D tuning on his “Man It’s Christmas” CD. I recommend checking it out. (CHORUS)
D A D Go tell it on the mountain, over the hills and everywhere, D A7 D Go tell it on the mountain that Jesus Christ is born. (VERSE)
D A D While shepherds kept their watching o’er silent flocks by night, D A A7 Behold throughout the Heavens there shone a Holy Light. CAROL OF THE BELLS Tab is in ¾ time and covers the main theme of the song. Have a Merry Christmas and a Happy New Year!!
Roger is available for private lessons and on Skype, Contact: Email rogerzimish@yahoo.com, www.rogerzimish.com, Endorses Greg Bennett Design Guitars by Samick, G&L Guitars, Visual Sound and PedalTrain Pedal Boards.
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Bob Bennett (cont. page 24) over 200 people on this project has got me over the moon. AH: That’s an exciting thing, and it works. That’s how Big Tent Revival did their new album too. BB: What I think it does is put economics in the best place possible, because then you’re not borrowing large amounts of money from record companies that you’ll never make back. You’re actually going to the people who care and want to hear it and saying, “I can reward you with some stuff if you’ll buy in on the front end. It makes perfect sense and it worked out better than I could ever have imagined. AH: Bob, I want to ask you about your gear. Are you still playing Kevin Ryan guitars? BB: I am, and he’s building me a new one. I just couldn’t be happier. He’s building me a Cathedral model. It’s a guitar the he actually designed in part because of our friendship. I met him very early on in his building career and we are the best of friends. He’s just an amazing builder; I’m continuing to play my old Mission model, but there’s a new baby about to be delivered! AH: What is it that you appreciate about Kevin
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Ryan guitars. BB: Well, I think it’s the perfect marriage between the way they sound and the way they look. You’re not just playing an instrument; you’re playing artwork. When they’re joined together as he does it, it’s just a thing of beauty. AH: Do you have anything going on that we didn’t mention yet? BB: Yes—something that’s gotten my attention these days too... in 2008, a woman emailed me and said, “My husband loves your music and he has terminal cancer, would you play at his funeral?” I emailed her back and asked her if he was still with us and if so, what kind of shape was
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he in? She said he was out of hospice and at home, but he has his good days and bad days. I said, “Well for goodness sakes, let’s do a house concert!” So I drove out to Montana and I played a house concert for him and his family. It was just a wonderful experience, even though the circumstances were quite sad. Ultimately, I played at his memorial service. But it meant something to him that I showed up—not because I got the big ego stroke—but he had listened to all my albums over the years, knew my songs, and so the fact that I showed up was kind of a cool deal. The only thing I really know how to do is to sing Bob Bennett songs, so I was Continued on page 44.
KEYBOARDS “Synth Sense”by Erick Hailstone In my first article I gave a bit of my history with synthesizers. It certainly isn’t all-inclusive, but I think reflects the development of consumer keyboards. I thought I’d build on that by looking at the various types of Synthesis that exist and focusing on the specific types that we consumers are using as opposed to those that are primarily used in Universities and labs. Even if think you know a lot on the subject, a quick search on Google will humble even the most narcissistic of us, particularly myself.
of any hardware devices currently using Additive synthesis. There are several software synths. Check out: Cameleon 5000 & Alchemy by Camel Audio. Aside from the sine waves, you can also perform a function called re-synthesis, which will analyze a recording or waveform and recreate it with sine waves. “Morphine” by “Image-Line” is another great plug-in using additive synthesis. Morphine and Alchemy both can perform re-synthesis and they also have multiple sound sources which they can morph one to another.
Analog Synthesis/Analog Modeling Synthesis/ Subtractive Synthesis: I’ve lumped these all together because they are so similar in form. In F: Formant last months article I described Analog synthesis as: an analog Oscillator that is shaped by subtracting Analog modeling synthesis qualities using filters and ADSR envelopes. This Frequency modulation synthesis could be a single sound source (Oscillator) or multiple (1, 2, 3). These sources are collectively B: Banded waveguide synthesis changed by taking away harmonic content with G: Granular synthesis filters. There are many different kinds of filters, but the most often used are “Low Pass, High Pass, and C: Concatenative synthesis Band Pass”. A Low Pass filter lets low frequencies K: Karplus-Strong string synthesis be heard and eliminates higher frequencies. You pick a Frequency and everything below it is D: Digital waveguide synthesis heard, everything above it is gone. A “High Pass” L: Linear Arithmetic synthesis filter is the opposite. It lets High Frequencies Distortion synthesis be heard and stops the low frequencies. A Band Pass Filter allows you to cut low frequency and E: Essynth high frequency and keep something in between. P: Phase distortion synthesis What’s left can vary between a very narrow band or very wide band. Once we decide on filtering, Physical Modeling synthesis we can further alter how the filtering will take place S: Sample-based synthesis with something called an “Envelope Generator”. An Envelope Generator (Transient Generator) V: Vector synthesis changes things over time: in this case the filter. Scanned synthesis Typically you’d have four stages “ADSR”: Attack, Decay, Sustain, and Release”. Attack can be strong, Vowel-consonant synthesis swift, and percussive to slow, seemingly flowing Template: Sound synthesis types from nothing to something, and everything in Subtractive synthesis between. The Decay setting determines how long before the sound will start to go away (decay). W: Wavetable synthesis Sustain will stop the Decay process and hold the As I said, Humbling! sound in place. Finally, Release sets the point that I’m not going to go through all of these, but I sound ends. There is usually an “Amplifier” section will cover those that I think are most common. that controls the loudness of the Source/OSC. It is My thinking includes hardware and software usually controlled by an “ADSR” working in a similar fashion as the Filter ADSR. The reason I’m giving instruments. an in-depth look at this form of synthesis is that Additive synthesis: The building block is the it is the model that is used most of the time with sine wave. The sound is similar to a whistle or a today’s instruments. If you understand the signal flute. A sine wave is a single frequency. You create flow of an Analog Synth you’ve got a great start on sound by adding multiple sine waves together to most of the hardware synths made today. build a complex sound. The main components are the frequency of the sine wave and the amplitude (Loudness). The most popular Additive synth I Erick Hailstone attended the Berklee can remember was the Kawai K 5000. It had 126 College of Music (Boston, MA), where harmonic sine waves. Once you selected your he studied arranging, composition, harmonic content (with sine waves) you could alter and guitar. He has served as a Clinician the sound with the following devices: a Digital for the Yamaha Corporation for Frequency Generator, a Digital Dynamic Filter, guitars, synthesizers, and recording equipment. Erick has written several a Digital Dynamic Amplifier, a LFO and a Digital books and articles on synthesizer Formant Filter (11-band graphic equalizer), 6-stage programming and production. and 7-stage Envelope Generators. I don’t know My first look at Wikipedia brought me this
A: Additive synthesis
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Bob Bennett (cont. page 42) the guy to do it. Then I had another friend of mine who unfortunately, because of a series of circumstances, went into a coma and did not come out. But while he was in the hospital, I called his wife and said I want to sing for Steve, because as long as he’s still here, he’s not gone yet. So, I went in with family and friends and I played a few songs for Steve. After these two experiences, it occurred to me that as I age, my audience is aging with me. People my age are now facing challenges we never thought we would. So, I’ve started doing this thing that I call “House Call Concerts.” If the patient, or their family or a friend calls me up, and says, “This is the situation, will you come sing?” If I can work it out, I try to get on a plane and go sing for them. It may just be them and a few friends and family in a room, but it’s my way of making a musical house call. What I hope to do is start a foundation for House Call Concerts where things like plane fare and hotels will be taken care of—I will never take a thin dime for this, but I’m not situated where I can just pull money out of my pockets either. My hope is to make a foundation that will keep the funding clean and will allow me to go do this work, but also—I’ve talked with people like Bruce Carroll who’ve said, “When you get this thing up and running, I want to be a part of it.” I think it would be a wonderful idea for musicians to make house calls for people who cannot get to their concerts. I did this for a fellow in Chicago about a month ago, and you’d have thought Elvis had showed up—it was so sweet! I got as much as I gave, because I got a chance to sing for this man and his family in an end-of-life situation. And I always ask God to give me grace to get through the situation, because I want to cry, but I need to sing. But it’s a blessing; Jesus said if you feed the hungry and clothe the naked, visit those who are in prison and those shut up in hospitals—when you do this for the least, you’ve done it “unto Me.” To me, this is as close as I’m going to get to doing a command performance for the Lord Himself. So, I’m hoping to develop this as an important branch of what I do. AH: Wow, that’s fantastic. And I could see not only other Christian artists wanting to get on board, but also non-Christian artists being interested in taking part. Is that something you’re willing to open it up to? BB: Absolutely, I believe it’s such sacred work that—short of maybe Ozzy Osborne—if someone came to me and said he’s not much of a church guy but would like to either affiliate with me [in this] or could I direct him in doing it, I would love to open source this idea so others could be a part or start their own version of it. Instead of me concentrating on the fact that I’m not twenty five years old anymore, and don’t have a big record deal, and on the things I can’t do—I’m trying to figure out what I can do.
Visit Bob Bennett’s official website: http://www.bob-bennett.com
THE INCREDIBLE SHRINKING SONG by Bryan Duncan
I’m always astonished when someone in the music business actually listens to a whole song! Ever feel that way? The movers and shakers are too busy vibrating to let a song hit ‘em in the soul. After all the years doin’ music, my primary observation is that people take their cues from what everyone else is saying, rather than what they themselves are hearing.
downloads in the next thirty minutes. Let’s That won’t fit on a freeway billboard!” And see, at 2 cents a download we’ll make a he adds, “I’m thinking you oughta just call it hundred and 80 thousand cents. Makes sense “wha’sup?” to me! That song is a real winner. Yep we’re reaching the world! Look at “I cried when I wrote this song, sue me if I those numbers! We’ve improved our brand play too long” one of my favorite singers identity! Our product looks great on a twitter quips in a sad melody. “That song is too slow pic the size of a postage stamp. Praise the for radio,” my friend says. I had to smile. Well Lord and By God, we’re trending! “Thousands at least he listened to the tempo! “What do were saved” is now a comment from the you think he’s singing about?” I asked just fer finance department. And don’t let Elmer fun. His response was “What? What do you Fudd tell people “Lives were changed” mean?” I know now if anyone ever hears my I’m not even considered a singer of songs music it’ll be when they’re alone in their car, anymore. No, the word-upgrade is “content stuck in traffic, with a cop behind ‘em so they provider”. And I can only hope that I survive can’t talk on their cell. the editing process even then. If you’re old
God forbid that we hear what our own souls are saying to us when we listen. Marketing has a way of keeping us focused on the packaging. “And for God’s sake, can we get a graphic artist to do something with that Bible cover?! It’s just too plain lookin’, it’ll never sell! What? The Gideon’s just bought 50 million copies? Like I was saying; I just love the Bible . . . great “I really love track #5,” I heard from guy work there, it’s one of my personal favorites!” yesterday. He was listening to a free preview Granted, we are bombarded with of my new recording project. “We wanna use distractions. It’s hard to sit through a 3-and- it in our campaign. Just the first 30 seconds. a-half minute presentation. Hey, I won’t even . . it’s gotta nice vibe” he says. “That’s right click a mouse if the site isn’t gonna give me the before I come in singing,” I noted. “Yea, but 5 second abridged version. that’s all we really need,” he adds. I think it’s If you have a chance to sing for television, you ironic that “track #5” is a song called “One know what they do to a song. “Give us a 30 Missing Piece”.
enough to remember how long it took to cut and splice recording tape, you can see why songs were longer back in the day. But then you had to saddle a horse for the long ride to the market too.
Songs now are melting faster than the polar ice caps. The Chorus has been replaced by a sound bite tag line. Add a drum loop and a couple of drop-in music licks borrowed from second nutshell” yer told. If those first three “And by the way, the title of your record is a wealth of samples from all the good stuff words are good, there’ll be ninety thousand way too long,” he continues. Conversations? long ago and, whoop there it is! Yea, times have changed. What a wonderful time to be grateful. And I’ll get to that right after I post on Facebook about how grateful I am! I’ll upload a cool pic of an ocean sunset I got out of clip art, add ten seconds of my own music I cut up for cell phone rings, and use it in the background for the video uplink to YouTube, be sure to Tag the usuals, run it through Hoot suite so it’ll post on five other networks with a hashtag #gratitude. I’ll be even more thankful when this baby hits 9000 “likes” P.S. You can hear my gratitude in it’s entire length if you have 62 minutes! “Conversations” www.sogoodforthesoul.com
Bryan Duncan/ Singer / Songwriter/ author / Publisher. Radio Show host for RadioRehab.com Inducted into the Christian music Hall of Fame in 2007. 40 years, 22 albums, Dove and Grammy awarded. www.bryanduncan.com 46
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Nathan East Depends on Yamaha. “When I'm looking for that ‘Upright’ sound, I reach for my Silent Bass. The sound quality is rich and full and the feel is very comfortable. In my arsenal of basses, my SVB-200 has become an important instrument for live gigs as well as in the studio.” -Nathan East, Renowned Bass Artist
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