Christian Musician Magazine - May/June 2013 by Worship Musician & Christian Musician Magazine

Improving Musicianship | Inspiring Talent

Product Reviews

Selective Hearing Amy Grant l Shane and Shane Paul Colman l The Oh Hellos Matt Maher l Fiction Family l John Elefante

Riversong Guitar Waves Manny Marroquin Signature Series Plugins Rebel Boards

MAY/JUN 2013 Volume 18, Issue 3 05

74470 95962

US $5.95 Can $6.95

Stage Fright: Act of God or Moral Failure? by Paul Stevenson

FR NEW IS E SU E E!

Finding the Right Music Gear for Your Church Just Got Easier!

Get the Newest FREE Issue of Worship Sound Pro — the Ultimate Music Gear Guide for Houses of Worship! Call Today for Your FREE Copy! The Best Technology for Worship

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

MultiTracks and the Modern Musical Message Find out how you can enhance your worship performances with professional-sounding accompaniment — and learn about the tools that make it happen.

Essential Guides for You and Your Volunteers In-depth, down-to-earth articles help volunteers, pastors, and worship leaders understand the ins and outs of the latest in worship sound technology. Go to Sweetwater.com/worship to learn more about MultiTracks!

Working with MultiTracks loops and tracks instantly gives your worship team a fuller, more professional sound. When you transition to working with clicks and loops, you need the right tools on the platform to make sure the team hears clearly and performs its best. Here are some essentials:

LLive 9 TThis software pputs you in ccommand of yyour clicks, loops, and stems. It’s easy to use and has become very popular with worship groups.

MultiTracks M ult and the

Modern M o Musical Message

MultiT MultiTracks.com gives worship teams the tools they need to bring professional-sounding accompaniment and loops to the platform. profes

When you open a MultiTracks file in your DAW, you can easily pick the parts you need.

Without W ithoutt question, quest more and more churches are supplementing their live sound with multiple-track accompaniment and loops for live worship performances. pe erform mances This concept’s growing popularity has led to a demand for great-sounding tracks and loops that are also easy to work with. We spoke with Phillip Ph hillip EEdwards, dward founder of MultiTracks.com, and asked him about the transitions that churches are making to running tracks — and the gear they need effectively. Sweetwater is proud to partner with MultiTracks.com to provide the potential for a fuller, more professional sound on the platform. to do soo effec Ma Many M an any ny worship leaders may have heard about running “clicks” or ““tracks” tra acks” in w worship, but these names don’t always mean the same Could you begin by describing the difference tthing hing to to everyone. every between accompaniment track and a MultiTrack? Also, a click b etween an a ttrack tr rack and and a loop? Absolutely. I’m just old enough to remember going to the Christian bookstore cassettes of accompaniment tracks with the lead vocal removed. and seeing cas are not that kind of “track.” That is an accompaniment track to be MultiTracks ar used without live li musicians. MultiTracks are a collection of all the individual “stems” from a recording. Our Original Master MultiTracks are the parts or “stems that the original artists use on tour to add in parts from their own same thing tha recordings to help h them sound like their albums and to fill out their live sound. A click track is the actual click that functions as a metronome in a musician’s in-ear mix. A cclick helps the musician stay in time, both with the band and any track he or she may be playing along with. You can use the built-in click from any standalone click track that can be sent to the front of house and then DAW, or a stand mix. back to your monitor m A loop is simply simpl a recorded track that loops continuously. I think people generalize a loop as being any track that is played along with a band. sometimes gen But typically a loop should refer to a percussive or melodic phrase that you can repeat over and over as you play a section of a song. Doo yyou D ou eever ver hhear of worship team members having a challenge ttransitioning ransitioning to using a click track in their ears? I teach about tthis at a worship conference, and I’ve heard this so often that now I just ask those who are currently running a click track with a worship team to the differences they’ve experienced in their team after they added speak about th the click. I can always count on the same story. Usually there is some initial resistance, but pretty soon everyone loves the benefits of playing in time, and they always want to use a click after that. Using a click track makes everyone play tighter, ighter, and the consistency definitely improves. You’ll be amazed at the feedback you Also, ou receive! Al so, pre-recorded vocal guide cues give the team count-ins, so transitions ransitions andd song entrances are smoother and easier to navigate.

Worship Sound Pro 101 Guides

Customer-favorite >> YAMAHA

MOX8

169999 More info on pg. 108

Take a look at the instruments we’ve highlighted in this guide, including Yamaha’s MOTIF XF8, the affordable Korg SP280, and the piano-like Kurzweil PC3K8. You’ll also want to check out the Hammond XK-3c.

Workstations: Workstations ations:: Powerful P Tools Tools for the Worship Leader

Choosing the Right

While streamlined, piano-like instruments are ideal for a number of worship leaders andSound church pianists, other houses of worship rely on keyboards Worship Pro 101many Guides 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

Korg Krome-61 Powerful workstation with world-class sounds

99900

More info on pg. 110

The Path to Great

KEYBOARD Guitar Sound Whether you’re looking for a simple instrument that just plays and sounds like a real acoustic piano, or you’re seeking a powerful centerpiece for all your worship team’s ambitions, there’s a digital piano that’s right for your church. To help you zero in on the perfect keyboard for your needs, let’s take a look at the different kinds of keyboards available, as well as the important factors you’ll want to consider when making your decision.

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

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.

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?

Call us today at (800) 222–4700

Kurzweil PC3K8 Amazing feel and piano sounds

3495

More info on pg. 110

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 Roland RD-64 handful of cutting-edge capabilities — maybe built-in drum patterns for Portability plus great rehearsals and a lighter sequencer for a quick songwriting sketch pad — there instruments and $ 00 are a number of options that fall somewhere in between the two categories playing As worship services and events become more diverse and tied intofeel today’s culture, it’s we’ve already mentioned. Instead of choosing an 88-key option, which has the More info on pg. 112 same number ofthat keys asthe a fullmusic piano, you can select a 76-key — or smaller — inevitable performances involved become increasingly contemporary. version. These instruments trade a slightly reduced range (many keyboardists It’s just ashighest common to see setups onand the platform as it is to see pianos, never use the and lowest keys full-band anyway) for lighter weight a more portable form factor. You can still get fully weighted keys on a 76-key piano, organs, and choir ensembles. or you can choose a semi-weighted version that works well if you perform a Hammond XK-3c blend of classic and modern rather than strictlycan piano. benefit from using a DI box — especially if your setup One very attractive elementinstrument of modernsounds, worship music

999

Classic Hammond involves outboard effects and other gear (with balanced performance is the guitar a very portable, versatile Increasing in popularity are — keyboards that feature a built-in microphone organ sounds

inputs) instrument also happens be relatively affordable input. These that are perfect for the to performing worship leader and great for in addition to your amplifier, or requires extremely longthe cable runs. Balancing the signal with a direct box (compared to thatservices. hulking The pipevocal organ). Though worship scaled-down youth microphone goes right through helps performersoutput, have been using guitars as accompaniment for Better keyboard’s so you’ll need to amplify only one signal. yet, to keep the signal strong and helps to remove $ pesky00 electronic decades, the last few vocal yearseffects have seen boom in guitars there are professional builtain, so you can refine the vocal soundinterference. There are DI boxes available to suit More info on pg. 107 every budget. as standout instruments. youof effectively without having to purchaseBut anhow extrado piece gear. integrate the guitar into your gathering without turning the Don’t Forget Sounds Natural Sound, Even Plugged In proceedings into aAbout loud rockRealistic show? Read Organ on.

2895

X 61 Taking “direct” to anKorg entirely Kronos new level, some acoustic The organ is still a very popular instrument for worship services. And while Going Direct Great workstation, guitar-centric pedals and even onboard preamps $ include 00 most of the keyboards we carry feature a built-in organ sound, you can get loaded with free that extras very specialized EQ curves and effects give your Theorgan-playing dynamic, natural sound of acousticwith guitar is right— upby choosing that experience —an complete drawbars a More info on pg. 109 there with the pianofor when comes to accompanying solo dedicated instrument the ittask. artists or ensembles with one instrument. Until relatively Have more questions? Our Sales Engineers are here to help you choose the recently, though, playing your acoustic live meant remaining best keyboard for your church’s goals. In fact, what you see in Worship Sound stationary in front of a microphone and fighting feedback Pro is just a small sampling of the many keyboards we have available. Give us a from the sound system. The advent of onboard pickups call today at (800) 222–4700. freed acoustic players from this fate, allowing them to plug right into an amp or PA system and, in many cases, >> AVID Korg SP280 $ 00 $ 00 control the guitar’s volume and tone. One mostly unsung Outstanding playability, Eleven Rack More portability info on pg. 130 but very useful tool for amplifying an acoustic guitar is sounds, and More info on pg. 114 the DI, or direct box. In general plugged-in guitar a more natural sound. Fishman’s Aura terms, the purpose of a DI box is to line actually includes stompboxes matched to specific body convert the signal coming from your styles. Simply plug your favorite dreadnought or jumbo or instrument into a “balanced” signal classical into its corresponding pedal, and you get a very that’s compatible with the church’s good approximation of your guitar’s unplugged sound. Best sound system. Though many mixing of all, this “microphone-like” tone doesn’t come with the boards allow you to plug straight in, baggage of feedback! using a DI on the platform means the Though EQ curves and pre-programmed algorithms can signals coming from instruments and make a guitar sound great, today’s standalone modeling microphones are all consistent when and effects units allow you to coax an incredible array of they connect to the PA. Even if you’re sounds out of your acoustic or electric instrument. The an electric guitar or bass player, you number of effects that can be applied is simply staggering, and, believe it or not, as modeling technology has gotten >> BOSS $ 00 more advanced, it’s now easier to pack those effects into MO-2 More info on pg. 132 smaller and smaller effects units. One big advantage you

3199

699

Worship Sound Pro 101 Guides

Since a click is involved, I’d assume it’s important for the team to use in-ear monitors. Yes. Using floor wedges at your church would be a barrier to running a click track or MultiTracks. There are many benefits to making the transition overall, which is why more churches every day are going with an in-ear setup. If you have a live drummer who has to turn up a floor monitor up loud enough to hear it over his drums, then everyone around him has to do the same. Suddenly, you have a

The Basics of

Building a Mix

get from m modeling effects (Line 6’s POD standalone units, Amp or PA? exam mp is the ability to get the sound of your favorite for example) Since the primary goal of amplifying an acoustic guitar ar amp am while plugging straight into your church’s sound guitar is to retain as much of the guitar’s natural character as system. em. This Th means you get total control over your stage possible, it’s important that your acoustic amplifier provide volume me and an tone — and you don’t have to lug that hefty It’sofbound to happen at some point: mix disaster. Maybe church’s regular a verythe clean, transparent sound. So whyyour not simply run your amplifier the platform. lifier on and off instrument directly into the sound system? While that’s a sound person calls in sick at the last minute. Maybe the new volunteer sound person perfectly fine solution for many worship leaders (especially Big g To Tone from a Small Package soloaperformers or smallor acoustic ensembles), thosefrom playing doesn’t know a volume slider from sliding door, a mixing board a mixing Sometimes, etime however, there’s no substitute for the sound acoustic guitar in full-band setups or on larger stages and response of an honest-to-goodness The respo bowl. Whateverguitar the amplifier. circumstance, something has to be donesound to save the service. benefit from the control and focused they get from a be trick is being able to coax peak performance out of your dedicated acoustic amp. Many of amps include Without sound, the congregation won’tcombo be engaged orthese inspired by the music, amp without shaking the wallsdecent of your church and drowning with extensive EQ controls for fine-tuning your tone, as well as out your message. As recording guitarists and studio m and the message may be completely lost. onboard filters that hold feedback at bay. Amps with built-in engineers nee can tell you, the secret to big tone, oddly enough, neers effects let you add even more body and depth to your lies in amp —creating especially you relysound on classic n using usin in a smallThough maythe notneed be perfect — forewarning the team that theif perfect mix for a service a theysystem sound.isPlus, eliminate for a complicated signal tube-powered units forart, thata rich, sustaining tone. A small e-pow everything may not be ideal willThough go a long way toward true sound person with little or no mixing experience chain running through outboard effects pedals. single-speaker combo ampachieve is relatively toclarity transport e-spe easingpack the plenty processof for everyone. least they will know can still goodeasy sonic and and deliver the message acoustic combo amps sonic punch At from a small move, you immediate access to volume e, and its controls tostill expect! withgive pleasant and effective audio. Here are some tips for largerwhat enclosure, rooms require sound reinforcement and tone adjustments. Using lower power levels, or wattage saving the day with a quick, last-minute mix —from whether a PA system. That’s where your amp’s built-in direct means theworking amplifier’s and ns you n yo can “drive” you are thepower sound section booth yourself or have thecomes help in.4. Turn it on. output speaker, the of the amp’s dynamic response ker, getting ker g of benefits a volunteer. on the speakers or the amplifiers last; this prevents loud and full-sounding tone without blasting the congregation full-s -so Using YourTurn Amp’s Direct Output thumps and pops from coming through the system. and overpowering the rest ofityour worship team. If you need overp 1. Keep simple. Most dedicated acoustic guitar and bass amplifiers include more e than just one great sound from your amp, consider balanced direct outputs, giving the option of running Unfortunately, mix emergencies rarely occur when you have 5. Reset theyou mixing board. a multichannel amplifier (usually equipped with separate ultic ulticha your church’s PA system without sacrificing loads of sparesounds, time to as work solution — it your rig throughBegin controls distorted wellonasatone rolss for f clean and by pulling all the volume sliders (faders) down to the is control and sound you get onstage. Several electric guitar almost always happens minutes before controls reverb adjustments) or even that most recentthe of service rolss and a zero. (Usually these are found at the bottom of each (especially modeling amps) with direct-out capability supposed to start. While your have racks amplification developments, the modeling amp.sound booth maycombos lificcat channel on the mixer.) Set the channel gain to a mid are now also available — some even include speaker emulation, of processors and sophisticated audio equipment, is position (Usually this knob is found at the top of each sending very realistic amp tones straight to the PA. Using not the time to You experiment with effects or to randomly How wM Many Amps Do Need? channel on the mixer.) Next, reset all the equalization (tone) your output doesn’t just let you “have your start turning knobs. Focus on the bare minimum youamp’s directcontrols on the mixer to their center position, which is Small ll mod modeling combo amps provide a two-fold solution for ampfor and play it too”; it also allows you to handle the sound need to get the job done. Leave the special effects essentially off. Turn the auxiliary or monitor sends off. Make worship The first is versatility. Packed with multiple ship guitarists. g level that reaches your gathering. You can enjoy getting the another time. sure that mute or solo buttons are disengaged. (Usually amp sounds soun and effects, a modeling amp can literally take you sound you want on the platform, while your church’s sound these buttons are off in the up position.) Set the master from clean sounds to uplifting, sustaining lead m shimmering shim engineer can make a mix that’s ideal for the room. All these 2. Use what’s already there. volume fader to about 50%. toness in se seconds (and a footswitch is often included, so you great sound tools help to make playing guitar or bass in the soundyou system already set up, the cables and can make changes Hopefully, on the fly).your Secondly, don’tis have to give worship environment a more inspiring experience for you — run to andout theof monitors are tuned 6. Begin testing each sound source up portability and the low snake stage are volume to the get mixer, the most ortab and your listeners. to prevent feedback. Plugto the mics into these amps are voiced provide verythe mixer or snake e amps; amp in fact,inmodeling through the mains. inversions their usual positions. Try to useemulate, the same “old standby” consistent-sounding of the amplifiers they istent Have the main vocalist speak or sing into his or her mic. microphones andthe other gear you usually even — try coaxing same sustaining leaduse — again, now is n at low lo volumes Bring up the volume slider until you can hear the vocals in not the time experiment new gear! tones ampto stack that you with can get from es from a real 100-watt the main speakers. Turn up the auxiliary or monitor sends a preset ese set on o your modeling combo! Plugging into a small 3. you Have conversation the worship team. until the vocalist can hear himself or herself in the monitors. modeling callaup pretty much anywith tone you eling ing combo lets As you verify that each mic or source works, pull its volume need performance. And the very d forr a worshipExplain to everyone that thecompact regular size sound person is not fader back down to zero. You can leave the aux (monitor) and lightt weight ofavailable such a combo makes it is a snap to get w and that help required to have the service go sends turned up so that the singers can hear themselves. To on and off of the platform let’s not forget nd of well. Thisquickly. meansAnd guitarists need to turn down, drummers prevent feedback, don’t run the stage monitors too loud. the bass player, as there plenty volume, of great-sounding, p need are to control and so on. Explain that the monitor highly modeling combo bass amps available ly portable por that can hold their own on any stage. h

Call us today at (800) 222–4700

There are other websites out there that offer audio files for accompaniment. How does MultiTracks.com do things differently? Beyond the sheer size of our catalog, the quality of the original master recordings is amazing. There are also demos and quite a bit of free content on our site, which can help people get started. As does Sweetwater, we place a high value on supporting our customers, and we have a knowledgeable staff of engineers and trainers who can answer your questions and get you up and running right away.

bunch of monitors onstage that are louder than the sound system in the house, and the click track in those monitors would bleed into the house. Going with in-ears gives the mix control back to your sound person, and you have the added benefit of being able to mix in some individual MultiTracks with your live sound. If I’m a worship leader and I want to make my team comfortable working with MultiTracks and click tracks, what would you recommend? Great question. Though it’s not difficult, it does take time to transition your team. The first time you learned to drive a stick shift, it was really awkward because you were used to doing it a different way — then it became familiar and you wondered how you ever did without it. We have people on our worship team who were reluctant to use a click track because they weren’t used to having it in their ears. Give it some time, and you won’t even really hear it anymore — you become used to it. Now, using MultiTracks is a different story in my opinion. It makes the mix in your in-ears and the front of house sound amazing!

Can you walk us through the options that MultiTracks.com offers? We offer three core options: MultiTracks, LiteTracks, and Rehearsal Mixes. MultiTracks aren’t simply accompaniment tracks; they’re often the original stems from the original recordings. The cool thing about these tracks is that you can essentially have the entire recording up there — the exact same stems the artists use during performances — on the platform, ready for you to add your own parts. You can also get LiteTracks, which are premixed stereo MP3 files from original sessions. On the left side of the stereo field is a click; on the right are synths, strings, pads, and sounds that enhance the worship band’s performance of the song. You can put LiteTracks on your iPod or other player.

MultiTracks are actual stems of audio, often from original recordings. Can you tell us how the MultiTracks are controlled by software or hardware? How much flexibility do you have with the arrangements? The MultiTracks that you download from our website can be played in any DAW or music software that can play multiple audio files at one time. We have users of just about every software — Ableton, Studio One, Pro Tools, Digital Performer… the list goes on. If you’re just triggering the tracks to start and stop, and don’t need to jump around from section to section, then most DAWs will work great. We have lots of training videos on this concept on our MultiTracks blog.

Rehearsal Mixes let your team members hear the parts they’ll be playing louder in the mix, so it’ll be easier for them to learn what they should be playing. It’s an effective rehearsal tool that helps reduce practice time. Rehearsal Mixes are very affordable, and you can even buy credits in bulk to bring the price of each down even further. Tell us about the resources and tutorials available at the MultiTracks.com website. Our blog is full of training and tutorials specifically geared toward worship leaders, and you can sign up for more in-depth training and screen-sharing assistance as well. I would encourage people to take a couple of hours and dive into learning a software program. I think they’ll be blown away by how it benefits their live sound. We’re grateful that we’ve been able to help thousands of worship leaders make the transition, and we’re constantly hearing about the difference it makes for their church. Thank you for talking with us! Anything else you’d like to add? We have free demo content if you just register for an account with us online. Plus, there is a Free Content section with click tracks and loop tracks that you can download without an account. We’ve made it really easy to try this out with your team, and we’re always adding new songs to the catalog. We’re definitely here to help any way we can.

Can you trigger these files via MIDI from, say, a keyboard controller or a MIDI foot controller? Yes. Many musicians run MultiTracks from the stage this way. It helps if all your musicians are onstage so that you can cue everyone together. If a guitar player is leading worship and triggering the tracks, he or she might want to use a foot controller,, which is easyy to program within most anyy DAW. Or you p g y could assign g the pads or knobs on your MIDI keyboard to fire off the tracks from your keyboard. This way, way you’re never touching the laptop. laptop

StudioLive 32.4.2 A powerful hardware/ software mixing solution, the StudioLive mixer and Studio One software work together ether th to t let l t you run your MultiTracks operations and get great main and personal monitor mixes.. Plus, wireless integration lets you take control with th your iOS device! UM3X RC are IIn-ear nn-ear monitors ar working with ccritical to work MultiTracks. These M The earphones allow iisolating is solating earph member of the team eeach membe to hear the click, the accompaniment, companimen and the live instruments and vocals clearly. A360 Thanks to convenient, full-featured ull-featured ppersonal mixers such as Aviom’s A360, each performer on the platform gets his or her own custom cust in-ear monitor More monitor mix. m The result? rres confident c dent andd consistent confid c performances! peerformaances!

Phillip Ed Philli Edwards ards d The founder and CEO of MultiTracks.com, Phillip is a worship leader and a musician with professional experience. touring g exper p ience. Since launching MultiTracks com in MultiTracks.com 2006, Phillip has been teaching and training at worship conferences around the country on the concept of running MultiTracks to achieve a professional sound in any size church.

NEW

FRE

ISSU

Can you address potential copyright issues with these stems/loops? A download from MultiTracks includes a limited license for live performance at your house of worship. We cover the royalties for use of the master as well as for RSS SS V-MIXING publishing. Though you can perform the song as many times as you like at your YSTEM SYSTEM church, the license does not allow you to use the tracks for streaming over the Internet or for recording purposes.

Photo by Jon James and Troy Behrens

7. Have the worship team begin to play a song. ng. Watch for red overload or “clip” lights on the mixer. If you ou see these, turn down the gain controls at the top of that source’s channel.

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. 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.

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

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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!

12. Fine-tune the mix and the monitors. Adjust volume levels so that instruments and vocals are balanced, and adjust the bass and the treble controls on channels channe nels as necessary to prevent boominess, harshness, or

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iStomp

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See the latest gear from this year’s Winter NAMM show! Sweetwater and MultiTracks show you the best new products to enhance your worship services.

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* Merchandise sales available with upgrade to Nimbi Plus account. ©2013 PreSonus Audio Electronics, Inc., all rights reserved. StudioLive, Capture and Nimbit are trademarks or registered trademarks of PreSonus Audio Electronics, Inc. Studio One is a registered trademark of PreSonus Software Ltd. Mac, iPad and iPhone are registered trademarks of Apple, Inc. If you’re reading this footnote, the Mayans were sorely misinterpreted.

Capture multi-track recording software comes free with StudioLive.

Record it. Two mouse clicks in Capture™ records the whole service in stereo & multitrack. Add a marker to locate the sermon.

Virtual soundcheck. Before the praise band arrives, have levels and eﬀects set by playing back the recording you made at rehearsal.

Virtual StudioLive for PC and Macs comes free with StudioLive.

10:29 AM

8:00 AM

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Virtual StudioLive for iPad is free at the Apps Store.

Mix it live. Sit with your family in a pew and mix the whole service from an iPad®. Not just levels but scenes and presets, EQ, reverb and more.

10:31 AM

Powerful Studio One 2.5 comes free with StudioLive mixers.

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A free Nimbit account is included with Studio One 2.5 DAW.

Get it out to the world. Upload the service to the church’s Nimbit Facebook “store” where it joins the rest of the year’s sermons and concerts. You can also collect donations, sell event tickets and wearables* through the store.

12:30 PM

Polish it. Use Studio One Artist DAW to edit out some pauses and a cough or two.

12:00 PM

Features It’s All Over But the Crying Well I guess I should’ve expected it. I have had a very busy four-week run, and it is not over yet. I flew to Texas for the Dallas International Guitar Festival where I had an exhibit booth to man (lot’s of cool vintage guitars). I worked it from Friday through Sunday. Then I flew back home to Puyallup, WA and kept working through that next weekend and then flew off to Buffalo, NY for five nights doing our Christian Musician Summit conference (that was amazing – thank you Lord!). From Buffalo I flew right back home and started working through until the Mother’s Day weekend keeping my eyes forward as I was planning for our own Seatac Spring Guitar Show in Bellevue, WA May 19th. Three major events in 5 weeks, and all the while I was wrapping up the May/June issues of Worship Musician! magazine and this issue of Christian Musician… in fact as I write this (before this goes to print) I still have quite a few things to finish with this May/ June issue. I was tired from the several days in a row of long hours and from the changing time zones when Jim our printer delivered some boxes of the new Worship Musican! Magazine to our front door. I was glad to see the new issue and I held it out to Judy to share in the moment of the latest magazine being done. She said, “Cool, Darlene Zschech is on the cover” excitedly and that is when it hit me. I saw a nice photo of Darlene but nowhere on the cover did it say her name. Yikes! How could I miss such an obvious thing! The tagline was Revealing Jesus. That wasn’t there either. In 17 years of publishing magazines I have never dropped the ball on the object of the cover story. I have had typos on covers before… the chagrin of that still bothers me… it was our first issue of Worship Musician! magazine over 10 years ago with David Crowder on the front. And in Christian Musician I once had a cover story typo with Casting Crowns. Bummer! Now I am sure that Darlene has had the spelling of her name printed incorrectly a lot, but I’ll bet this is the first time she has had a cover story leave out her name entirely. My only consolation is that from the times I have spent with Darlene she is the last person that would take offense over something like that. She is a gracious and humble woman of God.

8 Product Review by Eric Wylie Riversong Guitar 10 Bassic Communication by Norm Stockton Modern Rock Bass Lines (Part 1) 12 Guitar Workshop by John Standefer Affecting Guitar Tone 14 Drumming Dynamics by David Owens How to Prepare 16 Vocal Coach’s Corner by Roger Beale Be Better 18 Show Us Your Groove by Chad Segura Ice Sculptures

CONTENTS 34 Product Review by Mitch Bohannon Rebel Boards 36 The Indie Mechanics by Keith Mohr & Sue Ross-Mohr You Can’t Always Get What You Want 38 Ask Joe by Joe Riggio 41 Guitar From A 2 Z by Roger Zimish Seventh Chords (Part 2) 42 Bryan Duncan Offers Hope For Independent Artists by Christopher Redner 44 Coda by Bob Bennett Still Loving the Disheveled Bride

26 Selective Hearing by Shawn McLaughlin Amy Grant Shane and Shane Paul Colman The Oh Hellos Matt Maher Fiction Family John Elefante 30 Product Review by Michael Hodge Waves Manny Marroquin Signature Series Plugins

Interview

32 Stage Fright: Act of God or Moral Failure? by Paul Stevenson

Cover, Inset, & “Hands & Feet” Photos: Jeremy Cowart

20 Audio Adrenaline by Bruce Adolph

LIve Photos: Jason Waite

In all the hustle and bustle for three events in five weeks and two magazines to get to the printer, I have to admit that I made a mistake that not too many magazines will ever face. But, it is just like my printer Jim always says, “Once it is printed, it’s all over but the crying”. In His Grip! Bruce & Judy

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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MAY/JUN 2013

PRODUCT REVIEW

Riversong Guitar By Eric Wylie

I first learned about Riversong Guitars earlier this year at the winter NAMM show. Their booth was downstairs in Hall E along with many other smaller companies. What initially drew my attention were their smiles and fresh attitude during early morning setup. After checking out their products, I had to bring Bruce and the rest of the CMS crew by their booth to check them out. The Riversong crew have done a great job addressing common issues with acoustic guitars. Based out of Kamloops, BC, they’ve already earned recognition in Canada as an up and coming new business and have been nominated for Young Entrepreneur of the Year. They also have several patents pending for their designs. That’s impressive for a company barely four years old. Riversong sent us one of their Tradition Canadian Special Edition guitars for review. This guitar was built entirely from domestic (Canadian) woods: spruce, hard maple, and walnut. Most Riversong guitars are built entirely from domestic woods. So what are they doing differently and how does it help acoustic players? One of the most common limitations of acoustic guitars is the inability to change the neck angle once the guitar is fully constructed. This, along with the bridge saddle height, determines how much the action can be changed. The neck is often set in a dovetail joint that cannot be adjusted without removing the neck and resetting it. Additionally, the portion of the fretboard attached to the body top cannot be adjusted and can develop a hump if the neck or top shifts. These issues can be compounded by using heavier or lighter gauge strings, which alters the amount of tension placed on

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The neck contour is still a bit chunkier than something like a Fender Strat, but would likely feel very comfortable to someone that primarily the neck plays electric. a n d soundboard. Seasonal So how does it sound? My point of reference changes in temperature and for comparison is my trusty Taylor 214CE. It is humidity can also wreak havoc a Grand Auditorium shape as compared to the on a guitar’s action. Riversong dreadnaught shape used by Riversong. The has developed a ‘neck through’ Taylor has rosewood back and sides, spruce acoustic neck to address these top, maple neck shaft, and ebony board. It is issues. The neck extends the length important to keep in mind that different woods of the body with the heel pivoting play a role in the overall sound of the guitar. at the neck/body joint. The neck angle Acoustically, the Taylor had the predictable zing can be adjusted via a screw at the endpin. The of a Taylor and a strong attack. It also had a little angle can be changed with a simple hex wrench. weaker bottom end and more sizzle in the high frequencies. The Riversong was more balanced No steaming or neck removal necessary. from low to high frequencies with a little more Intonation is also an issue with acoustic guitars. compressed attack. I spoke to Mike Miltimore This determines how well the instrument plays at Riversong about this and he noted the sound in tune with itself. Once the neck is set, little diffusor could be removed to change the attack. can be done outside of altering the bridge I removed it and noticed it definitely made a saddle, which is severely limited. Intonation on difference and opened up the attack a bit more. the Riversong guitar can be adjusted via two Removing the diffusor also seemed to slightly screws in the neck that moves the neck forward reduce the sound coming from the ear port, or backwards in the pocket. This means no which was a slight tradeoff. sanding of the bridge saddle and no technician necessary. Intonation is a good thing to check The Riversong guitar also came with a Fishman Matrix system installed. Sadly, the international any time string gauges are changed. shipping gorillas managed to knock the controls Riversong guitars also include good design loose and they fell down inside the body. elements like straight string pull at the headstock Thankfully, the ear port made it easier to fish and sensible top bracing to allow the top to the controls out for testing. (And it still worked!) resonate. The kerf, part of the interior structure, The Fishman preamp is fairly straightforward has also been minimized without sacrificing with a master volume and tone controls, plus a stability. An ‘ear port’ has been added to the bass boost switch. The tone control cuts mids upper bout. Some builders feel this allows while boosting the treble and bass. Running more acoustic energy to be focused upwards through a set of nearfield studio monitors, towards the player rather than all the energy the preamp kept the acoustic character of the being directed outwards from the sound hole. guitar while making it louder. The tone controls In testing, this works quite nicely. A ‘sound helped give the guitar more body or cut through diffusor’ has been inserted into the sound hole a mix, depending on how the controls were set. and helps manage feedback. Little things like Tonally, this isn’t a one trick pony guitar. It would the maple leaf inlays and double dots at the do well in a solo setting or in a full band mix. th th 24 (yes 24 !) fret are also nice additions. The neck contour was fairly slim with a narrow nut. Now that I’ve had my hands on a Riversong guitar, away from the madness of NAMM, I’m still impressed with their build ideas and sound quality. There are good design ideas that are well executed. The only real issue I encountered was the loose electronics, but that was the result of rough handling during shipping. The Special Edition comes with a nice hard case. Base price is $1674. Riversong is working on a network of dealers throughout the US and Canada. For more information or to order, go to www.riversongguitars.com.

CHRISTIANMUSICIAN.COM

“...Gallien-Krueger continues to astound.” Norm Stockton

NORM’S UPCOMING EVENTS Norm’s Clinic and Appearence Schedule 2012

May 17-19, 2013 Phoenix, AZ Unite Conference at WFX, Atlanta, GA Sept. 19-20 May 2013 St. Louis, TheMO Norm Stockton Group, Unite 24, Conference, Sept. 24-25 Virginia Bass Forum, Fredericksburg, Sept. 29 San Diego,VACA Unite Conference, PA Kimball Oct. 1-2 (TOTO) June 29, 2013 Pittsburgh, Bobby Bass Specialties, Philadelphia, PA Oct. 3 Las Vegas, NV

Unite Conference, Conference Boston, MA Oct. 8-9 National Worship Leader Conference, N. San Diego, CA Oct. 11

Visit NormStockton.com Concerts with Bobby Kimball (TOTO), Pleasanton, CA Oct. 18-19 Bassupdated Player Live, Hollywood, CA Oct.GK 20 clinics in the fall! for info & upcoming Instrumental Music, Ventura, CA Nov. 7

Christian Musician Summit, Redmond, WA Nov. 9-10 Study with Norm online The Outtengrand Orchestra, Yorba Linda, CA - Dec. 1-2 (and check out GK gear demos) at ArtOfGroove.com

Gallien-Krueger 2234 Industrial Drive Stockton, CA 95206 (209) 234-7300 www.gallien.com

MB212 II 212MBP

Modern Rock Bass Lines (Part 1)

syncopated bass vocabularies have been “dumbed apparent. down” to eighth notes. Additionally, the chord I hope to demonstrate through this new series motion seems invariably to be some version of that playing eighth-note rock grooves through I-VI-IV-V. four-chord progressions can be fun, challenging, I get it. I honestly do. Please let me offer the and musically fulfilling. We’ll start out simple and progressively dig deeper into our options with following perspectives for your consideration: each new installment. 1. Musical trends are cyclical. It’s just a matter of It’s fun to recall the many conversations I had with time before other genres and musical approaches We’ll be playing over the usual I-VI-IV-V chords, bass players after concerts during my six years but have re-ordered them a bit to IV-I-V-VI in the make their way to Sunday morning. with worship artist Lincoln Brewster. One of the key of E. Consistent with the genre, most of the common themes was “it must be so fun to play 2. My role as a worship player is to do everything major chords are voiced as 2 chords (root, 2nd & tunes like ‘Salvation Is Here’ or ‘Give Him Praise’ I can to musically convey what’s happening lyrically 5th) by the guitars and keyboards. For interest, I’ve with the killer bass parts…but you must get bored and spiritually. I’m trying to help the song say what made the V chord a Bsus on the first pass and a to death playing tunes like ‘Everlasting God’ or the song needs to say. If the tune calls for a driving B2 the second time around. We’ll probably tweak ‘Majestic’ with all of those repetitive eighth notes.” eighth-note line from me, that’s precisely what I with that in future installments. want to provide—with the best possible feel and The comments were always well intentioned In the written example, you’ll see that we’re emotion that I’m capable of conveying. The last and usually came from younger players, but they thing I want to do is try to impose my own personal basically just playing roots in the first four bars, but illuminated the fact that this bassist had yet to musical preferences (West African grooves? jazz including an eighth-note anticipation of the chord develop a passion for the groove. As I’ve expressed licks? funk embellishments?) upon a song that’s before bars 2 and 4. This is definitely an idiom of on a number of occasions in this column: once you written and arranged otherwise…relegating my the style. It creates some nice forward motion, a develop a passion for the groove, there’s no such part to be a “check me out” statement, at best, and moment of harmonic tension (that’s resolved by thing as a simple bass line. the rest of the band on the following eighth note), likely a distraction to band and congregation. and keeps things from being overly tidy. When I’m playing eighth notes, it’s requiring just 3. I urge you to not let the worship service be as much focus and attention to detail as when I’m In bar 7, we find the bass line playing D# under your only outlet for musical expression. Whether playing something more seemingly involved. Note the B2 chord. You might recall our discussions it’s playing with other bands or just recording little duration, time feel (playing on top, laying back, jams at home on your iPhone, exploring the vast of chord inversions in the past; this is an example st rd spot on), phrasing, tone, etc., can have a huge diversity of music is a fantastic idea and invaluable of the 1 inversion, where the 3 of a B chord is impact on whether the song feels right to the for your growth and creative fulfillment as a played by the bass. It creates some nice motion listener and rest of the band. and a descending line from the E in bar 6 to the musician. But the worship time is about serving. C#m in bar 8. We follow that with a quick walkI’ve spoken to countless bassists in recent years 4. Every musical genre requires skill and familiarity up to E on beat 4 of bar 8. E is the 5th of A and who lament the trend of much of worship music with its idioms to play well. Players who experience a great lead-in for the A2 chord we’ll presumably toward the U2/Coldplay approach to the rhythm boredom playing rock eighth notes frequently be hitting in the next measure…which we’ll explore section. Many of these players are experienced aren’t digging down into the subtleties enough to next time! musicians who are frustrated that their rhythmically play them with the correct feel and phrasing. To Strive for rhythmic accuracy and evenness of enjoy any musical phrasing when playing through this example. Let style that initially Bassic Communication doesn’t interest each note ring up to the next. We’ll get into the Modern Rock Bass Lines (Part 1) you, I encourage subtleties soon, but this gets us rolling. you to take the Have fun & God bless your ministry of groove! Norm Stockton time to explore (Adapted from curriculum at ArtOfGroove.com) these subtleties A2 E2 Bsus C#and strive to                                     really convey that Norm Stockton is a bassist/clinician/ style with musical solo artist based in Orange County, and emotional CA. Following his long tenure as bassist 7 7 7 7 7 7 7 7 7 4 4 4 4 4 4 4 4 4 with Lincoln Brewster, Norm has been 5 5 5 5 5 5 5 7 7 7 7 7 7 7 authenticity. You’ll  focused on equipping bassists around have more fun and the world through his new instructional 5 A2 E2 B2 C#will undoubtedly site (www.ArtOfGroove.com), as well                           discover there’s as freelancing (including tour dates more to it than with Bobby Kimball, former lead singer of TOTO). Also visit that which was Norm at www.normstockton.com, Facebook, Twitter and 7 7 7 7 7 7 7 7 7 6 6 6 6 6 6 6 4 4 4 4 4 4 4 6 7 5 5 5 5 5 5 5 i m m e d i a t e l y Instagram.  I hope you found our recent series on developing your inner clock helpful! Armed with that calibrated internal sense of time, I’d like to transition directly into strategies for developing bass lines for the ubiquitous eighth-note rock style that has become the primary musical genre many of us encounter on Sunday mornings.

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Affecting Guitar Tone An important, yet elusive subject among guitarists is ‘guitar tone’. Most players have an idea of the tone they like and they simply try to find a guitar that has that tone. It’s really a lot more complicated than that, however. A good deal of a players tone is the player him (or her) self. Other factors are the picks or finger nails that pick the strings, the gauge of strings, the angle you pick at, where along the string length you pick, how the instrument is amplified, what effects are used, etc. Lots of ingredients go into creating good guitar tone. Being such an involved topic, I’ll limit the focus here. In this article, we’ll talk exclusively about steel string acoustic guitar tone (pre-amplifier and effects – just the pure original tone of the guitar, the player and the picking device). Maybe we can expand on this in a later article. The first thing to consider is what type of music you expect to be playing. This is very subjective but, to use me as an example, I like a ‘bigger than life’ sound – nice rich bass, clear (but not overpowering) mid-range, ‘wispy’ clean treble, a pile of sustain and good volume level. Being a fingerstylist, I want the most clarity and separation of the multiple parts as I can get. I also try to find a specific sound that has a little personality or voice of its own. The description of the sound that you want and the purpose you have for your guitar may be completely different. The best place to start is to search your vocabulary to find meaningful words that describe the sound you want. Then set out to find the guitar that fulfills those requirements. This is somewhat of a lifetime quest. That means that the search never quite ends, but at least you are narrowing down the parameters all the time.

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Beyond the guitar itself though, I would draw special attention to picks. You may have already noticed that a really fine player can make even a poor guitar sound great. This has to do with his playing attack and the pick itself. Something that I learned early on is that using the typical 60mm nylon straight pick is one of the best ways to lose most of the tone you paid the big bucks for in a guitar. When you hear a great tortoise pick for a few minutes and then switch to the 25 cent pick, the cheap pick sounds like a playing card in your bicycle spokes, lots of flapping and way less actual guitar tone and volume. I’m so nuts about a ‘fat’ tone that my favorite picks are nearly 1/8” thick! They are made in France by Jean Charles Dugain and cost from $20-$100 each. They are carved with grips for the thumb and finger and are ridiculously comfortable. Once you play for awhile with one of these bad boys, it’s hard to ever use a regular pick again. Picks are made of all kinds of plastics as well as tortoise shell, water buffalo horn, coconut, wood, bone, rock, steel, copper, brass... you name it! And they all have different sounds. For my fingerpicking style, I began having an acrylic coat put on my nails years ago to make them more indestructible. The bonus is that the thicker nails now give me better tone just like a thicker pick.

Another big issue is the angle you pick the string at. If you pick at a shallow angle to the string you’ll get more scraping noise than tone. The more perpendicular your pick and the more straight up and down your movements are, the more tone you’ll get. For an experiment, gather an inexpensive 46mm and a 100mm straight pick. Use the thick pick with good technique to play a single note line for a minute or so. Now use the thin pick and lay your hand down more and pick at an off angle. The difference in sound is actually greater than if you picked up a $2000 guitar and compared it to a $200 guitar! Consider and play around with these ideas for a while and then send me any questions or comments ( john@johnstandefer.com). We can discuss it further as we have time. All the best in your quest! - 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 Another thing to consider is string gauge. hear the lessons! Includes charts. On an acoustic I like either .012s or .013s. Also consider private lessons with Anything smaller sacrifices tone, volume John via Skype!

and intonation while also creating a spongy playing action and more fret buzzing. The metal alloys, etc. make a difference too and should be examined.

CHRISTIANMUSICIAN.COM

How To Prepare A few weeks ago I got called to play for services at a church I had never played in before. I only had a few hours to get my act together and prepare for the unknown. I thought I would use this article to talk about what I think is important when it comes to being prepared in a new musical situation. What equipment do I bring? What questions do I ask? How do I prepare for it musically? I will do this in a series of articles over the next few months starting with this one pertaining to charts and music preparation.

organize service materials. I noticed it was a service where we played nine songs and seven of them I was not familiar with. I only had a few hours that evening to organize myself (I had a session the next morning, and a family obligation that evening) so I needed to be efficient with my time. Once I logged into planning center I noticed that many of the songs were not downloadable so I needed to download songs from iTunes. If I could put all nine songs on a CD I could listen as I drove the next day.

Next I noticed most of the songs only had the kind of charts with lyrics and chords but no bar lines. These types of charts are not very helpful if you don’t know the songs and I did not have time to write out drum charts. I called the church back and asked if someone had real charts that they could upload for me. Turns out they "7 did. With decent Rhythm 11, ,\'0,"" Your Love So High - page 2 of 2 fl~f charts, correct A ~. h 9 o .JL 8m Cl .~~tr; &4fell~ I Gma metronome markings and ~, , l't; 24 1 time to write in G2(no3) 8m A A drum parts, I feel , , / -I· , , , , 17 , , , confident I can I handle almost 'G2(no3) G2(no3) A 8m 8m 8m7 A any musical ~ G~7. , , , , I , , , , I~ , , ,.. 1/ ,.. ,.. ,.. I , , , , I situation.

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Because of my family obligation that night I decided to get up super early the next morning and print up all the charts before my session. Now this is important. Always leave time for the unexpected. I probably could have printed the charts in a half hour that morning but I always try to leave extra time so I am not in a hurry. Turns out the printer ran

out of ink adding about 15 minutes more to print the charts than I had expected. Since I had given myself an hour I had plenty of time and didn’t have to panic and rush out of the house to get to my session on time. Later that day I had an hour or so to sit down and go over all the songs. I could write in drum parts and familiarize myself with the “road map” of the charts. Here is one of the charts. You only see the second page because I was tacet (I don’t play) on the first page. Notice the written in drum parts and vocal cues. At the ‘Bridge’ I crossed out a wrong vocal cue and corrected it. You will notice the ‘Tag’ section repeats three times and I have noted the first time I keep playing the tom groove but the last two times I change to a bashing rock groove. The 4x4 means quarter note kick drums. I hope you can make sense of my shorthand. The important thing is that is makes sense to me. At the end I wrote ‘V.S.’ and ‘Change Tempo’. I put these markings in at the rehearsal. The musical director wanted the two songs to be seamless so we did not play the last chord of the first song (I crossed it out) and I changed tempo as we started the next song right were this one would have ended. The V.S. means volti subito or turn the page quickly. It is an orchestral term written in as a reminder. My ability to transcribe drum parts and quickly create charts like this have saved me countless times. I encourage you to develop a system like this for yourself. Until next time. Remember to be over prepared then go with the flow. Blessings, David 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

CYMBALS. PERFECTED.

What do you get when you combine modern worship drummers with classic Turkish master cymbalsmiths? Heartbeat cymbals! These are the cymbal of choice for many churches, including North Point Community in Atlanta, Central Christian in Las Vegas and Hillsong in London. Hand made cymbals that sound as amazing as they look. Special church pricing. Endorsers wanted! ARTISTS Travis Nunn Simon Kobler Calum Rees Mike Smith Jeremy Bush Christian Paschall Gareth Gilkeson Josh Vanderlaan

w/ Chris Tomlin w/ Hillsong United w/ Brian Doerksen w/ Leeland w/ The Digital Age w/ David Crowder w/ Rend Collective w/ The City Harmonic

Heartbeat-Percussion @HBpercussion

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866.988.1277 info@heartbeatpercussion.com

Recently my wife and I attended a welladvertised live streaming video Bible study. This study was sent out worldwide and had approximately fifty thousand viewers. We enjoyed a time of study and prayer, as well as had a missions discussion and a time of music. The last item is what prompted this article.

Be Better

concern that they will run out of breath. It also happens when a singer knows that high notes are coming. Both of these issues can be addressed by counting. Have the singer speak “one” in a strong voice. Add another number as the singer inhales until the number ten is reached. Each time another number The music was very well done. The band was is added the singer will notice that the same tight, had the proper groove goin’ on, and amount of air taken in is lasting longer. had all the necessary and latest equipment. The third issue is “pushing” the sound. Many The singers were in tune. singers attempt to help the voice forward, to This is where the discussion starts, with the propel it into a microphone and out into the singers. Let us take some time and identify building, louder than the bass drum, with an the most observable and frequent problems excessive amount of air. The great American that are found in all types of singers. Not just baritone Thomas Hampson states it this way: church band singers and praise and worship “So much of singing today is concentrating on the idea of air becoming some sort of power singers, but all singers. source to vibrate the cords. ‘Projection’ is The first issue is poor posture. It is obvious probably the most vulgar word I know in that to stand erect with a long spine and erect singing. To project a voice is acoustically and head will help one to sing efficiently and physically impossible; it is also wrong to try. create a commanding presence. The singers You can project a broomstick, a bullet, or a on this worldwide bible study did not do this. paper airplane, but a voice resonates. Think Their shoulders were slumped forward, their it [the tone], hear it, breathe into it, and then heads were tilted back, and their jaws were sing.” Brilliant! thrust forward in a very tense manner. When I noticed this, my first thought was that they The fourth issue is the inability to sing legato (smoothly). Many of today’s singers could be even better. have difficulty singing a long sustained vocal If you work with singers at any level do not line. Contemporary singing styles usually hesitate to spend time on posture. Make don’t require the singer to sing long phrases. them aware of why this is important to vocal Contemporary phrasing is usually short, development. Offer them CDs on basic chopped up, and very speech-like. But if you singing. There are good ones out there for sing, there will always be that song that shows purchase. You could also video them during up with a long sustained vocal line. You know a service or performance. A picture is still it’s coming and you tense up, tank up, and worth a thousand words. then push the sound. This is not good! The second issue is inefficient breathing. Be Singer must have command of their breath aware of this issue, but do not get carried management. One must move the breath away with it. I have seen great breathers with agility and freedom. You must keep your who did not sing well, and I have seen bad air flowing evenly in a sustained vocal line. breathers who sang very well. Keep this Legato singing requires skill and good habits subject in perspective. Breathing problems to keep the vocal line undisturbed. To get come in two varieties: singers who do not better at this skill find some easy vocal drills inhale deeply enough, and singers who take and sing them on a single vowel, then add the in too much breath. other vowels. Be diligent in your rehearsal Singing with a microphone does not demand time. that singers breathe deeply. Singers who take The fifth noticeable bad habit is poor in too much air always feel an emotional need articulation. Diction plays a very important to “tank up”. This fear is usually caused by a role in fine singing. But we hear singers all 16

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the time who fail to articulate words clearly. This is the very minimum that is required of a singer. We use words! The most common bad habits are harsh consonants, muddy diction, unintelligible text, and uneven tone. When working with singers please keep in mind that singers have speech habits that they have been using since they were children. Many of these speech habits are not conducive to good singing. North American singers diphthong and tripthong their vowels constantly. We pronounce L and R with a backward tongue. We even involve the jaw to pronounce consonants such as T, D, L, N, and R. Retraining the articulators is challenging, but it is an essential skill if one is to sing with ease and clarity. If you work with singers, take the time to address these issues. You will need much patience. Any number of vocal exercises can be used to develop better articulation skills. You might try a one-note drill using the word ‘hung’, and then move to a-e-i-o-u. The ‘Ng’ is an excellent focus for the vowel sound, and the following vowels are then easily formed. The lips and jaw will not be over worked. We have just begun to cover the many vocal problems that show up in the church and its worship services, but the ones mentioned here are the most observable and prevalent. Always be consistent in your musical teaching and training. Good singing habits lead to good diction and the good news of Jesus Christ is passed on by words with a clear understanding. Now go sing well! Roger Beale is one of the nation’s foremost vocal coaches. He presently works with professional singers in all areas of musical performance. His teaching and coaching facility, The Voice House, is involved in the management and care of the professional voice. Roger can be contacted at: The Voice House, 1029 Peachtree Parkway, Suite 276, Peachtree City, GA 30269, (404) 822-5097, e-mail: voicehouse@mindspring.com.

Ice Sculptures by Chad Segura It was December, and I was driving up I-65 toward Nashville as part of my standard morning routine. As usual, I was lost in thought and completely unaware of my surroundings. But for some reason, I snapped out of my traffic-induced trance for a moment and suddenly caught sight of a billboard announcing an ice attraction featuring Charlie Brown and the rest of Charles Schultz’s beloved characters. It was touted as a retelling of “A Charlie Brown Christmas” using colored ice sculptures.

days straight in order to transform thousands of 350-pound blocks of ice into these iconic characters. The exhibit apparently featured sculptures, slides, and even rooms made entirely of ice. The more I learned, the more I was struck by what I viewed as the overwhelming futility of spending all of that time and talent in what I deemed to be a vain pursuit. I mean, really, how could individuals with so much talent, who were creating something so intricate and beautiful, possibly waste their energy and precious time Now I had passed that billboard for weeks on something that was so fragile, so fleeting? and had even seen the commercials on TV, And then it hit me. I think this is exactly what but I really hadn’t paid much attention to King Solomon was talking about when he any of it until this moment. Up ‘till now, I had said, “Then I considered all that my hands had simply dismissed it as an attraction that held done and the toil I had expended in doing exactly “zero” interest for me, and honestly, I it, and behold, all was vanity and a striving was pretty sure my family would feel the same after wind, and there was nothing to be way. Not because I don’t love Peanuts, or gained under the sun.” (Ecclesiastes 2:11 – ESV the magical television special that captured Translation) my imagination as a small child, but simply As I re-read this passage with new eyes, I because it felt like a lot of effort and expense realized that everything that we do could to go through in order to get the family be viewed in this way. Now obviously, not together and trek to the other side of town everything we do is going to turn into a in order to go stand in the extreme cold for massive pool of water if the temperature rises a couple of hours to look at some carved ice. above freezing, but more things than we think On this particular day, however, I was suddenly struck by what a monumental task it was to create these massive sculptures. I was fascinated by the fact that a group of individuals had painstakingly created these works of art out of frozen water, working in an environment that I would most certainly classify as unbearable (I absolutely HATE the cold), all the while aware of the fact that the fruits of their labor would last for a couple of months, at best.

our Creator, to inspire those who follow Him to love and serve Him better, to point those who are searching toward a Savior who’s calling them. Those things will echo on in eternity. It’s how we treat others, and how we show God’s love through our words and actions. It’s how we give selflessly in His name, of our resources, our time, our talents. It’s what a brilliant melody…a perfectly crafted lyric… an inspired performance can do. That is the potential, and the power of great, Godglorifying music. And I don’t believe that will ever melt away. Now please hear me when I say that there’s absolutely nothing wrong with creating beautiful “ice sculptures.” They can bring some amazing, albeit temporary, beauty and joy to the lives of others. Truly, I’m a huge fan of great art that’s created simply for art’s sake. But I’m an even greater fan of art with a purpose…an eternal one.

So today, I’m simply inviting us to ask ourselves how much time and energy we’re spending on works of ice…and how much are we spending on beautiful works of lasting significance, whether musical or otherwise? I will eventually just melt away. Truth be told, don’t know about you, but I’d love to make most of us are probably carving our share of sure I’m creating my share of eternal artwork! ice sculptures on a daily basis. This particular group of individuals just had the benefit of Chad Segura is a 17+ year realizing they were doing it! music industry veteran, having

Now before you go and get all depressed worked at EMI Christian Music about the pointlessness of your work, or Group for many years, and most recently heading up your creative endeavors, or any other activity Word Entertainment’s music that you engage in, and before you start to publishing division for the entertain the thought that these lives we’re past 6 years. He has recently living are simply just exercises in futility, launched his own company, Meld Music, focused on I did a little research and found out that please understand that this is NOT what I’m music publishing, artist/writer development, and film & this team of artisans was comprised of 40 saying at all! T.V. licensing, among other things. He is a firm believer sculptors from Harbin, China; home of the Yes, many of the things that we put our in the power of collaboration, and using our gifts for internationally famous Harbin Ice Festival efforts into will most certainly pass away. But the glory of God. He can be reached at chad.segura@ (who knew?). These artists would work for 40 then there are those things we do to glorify meldmusic.com. He lives outside of Nashville, TN with his wife and two daughters.

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When I first heard that Audio Adrenaline was reforming and Kevin Max (one of vocalists that made up the dcTalk trio) was going to be there new front man, I was definitely intrigued. First of all, a little back story. I had the honor of co-promoting several Audio A concerts in the northwest 15 years or so ago. I had always liked them as “people” as well as a band. They also had a good sense of musician humor that I appreciated. A few of my favorite promoter stories to tell have happened at Audio A concerts (like the time I fell off the side of the stage in the dark, hurting myself right after I had told the “ready to mosh” audience, “whatever you do - don’t do anything to get hurt” – ouch! And the time we sold out this college venue that was supposed to hold 3,000 and it really only held 2,200 – everybody just squeeze into the room now while I pray the Fire Marshall doesn’t stop by).

the Devil Have All the Good Music”. It was Awards, and that not only did they thank a cool way to end a successful run for this me personally as a promoter in the liner important band in Christian music. notes for the Bloom album, but that they had Since Audio A had to stop touring when given me a Gold Record from Bloom with original lead singer Mark Stuart sadly lost my name on it that still hangs on display on his vocal capabilities several years ago, the wall of our Christian Musician magazine it made total sense to me for the band to office. re-emerge with Kevin as their lead vocalist Now with a new record and a tour in and for Mark to still be in the mix behind process it is high time we re-introduce this the scenes. significant band to our readers and let them From the first day I met Audio A back in tell us about their fresh efforts in music and 1998 I had always liked the bass player ministry. Will McGinniss. He was friendly and you could just tell he cared for the folks in the audience… actually the whole band had that same vibe. I think Audio A had something special going on for them then. In fact as I write this I am reminded that they won 2 Grammy’s, a slew of Dove

Then concerning Kevin Max, I had actually co-promoted the final two concerts of dcTalk (the Key Arena in Seattle, WA and the Salem Armory in Salem, OR). It was a fun time and Larry Norman came on stage with them in Salem and ended the night with “Why Does

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CM: Will, let’s start with you. You have been there since the beginning and you are on stage each night now. Tell us about the journey from then until now?

you performed and you would fire up the audience like crazy. Tell us about how it impacted you when the vocal struggles started to show up and how did you learn Will: Wow, thanks for the kind words to accept the actual condition of your vocal Bruce! I’m humbled and blown away that cords? you would remember me and the band in Mark: I absolutely loved being on stage with such a favorable way, proving that, while we the guys in Audio A. We took every moment may not know it, we are a witness at every as a gift from God. Every concert we carried moment in our life whether on stage or not. the burden of giving people a memorable Audio Adrenaline took their stage seriously show and also ushering them to the Throne. and wanted to be great role models and We wanted fans to go away knowing they just represent the Gospel and God in a way that experienced something much bigger than would draw people to Him and not the band. Audio Adrenaline. I think we prided ourselves in being Midwest During the last few years of Audio boys with an incredible work ethic, and that Adrenaline my voice problems stole my joy. came from all the guys in the band being I lost the passion to write music. It left me sold out for Christ. We also wanted to have feeling defeated and empty. However, one a ministry that was full of integrity and full of thing I’ve learned is that when God takes one Christian morals and values. So not only living thing away from us…He gives us something out the American dream, “if you work hard new, something different, something better. and go for it in life you can achieve anything”, In the midst of the brokenness and struggle but when four guys come together with the it’s hard to see that God has bigger or better added layer of being “called” to do music as plans. You see, although I lost my voice to an outreach for God, I think that is where you be a rock vocalist, I am now am the voice of get the full context in which Audio A went thousands of orphaned out and burned up the roads. We literally and abandoned strapped every part of it on our backs and children in Haiti. My went out and gave it 110%, so naturally we passion is back…it’s just were a Godsend to any label. (I say that with a redirected. smirk on my face). CM: Mark, that is a We have a couple of band mottos: “Do wonderful testimony something. Even if it’s wrong, we gotta do and a great attitude something”, and “asking for Forgiveness is towards God’s will in way easier then trying to get Permission in your life. Tell us exactly most cases”. So the journey has been nothing what the ministry is short of a miracle in action, and at the same there in Haiti, and time calculated chaos. I mean, who gets to how can folks who live their dream for most of their adult life, have a heart to help feeling like they are in the sweet spot of Gods can get involved? gifting, while getting to do it with some of the most incredible people one could ask to do Mark: The Hands life with. The first time around the band and and Feet Project is a crew were a band of brothers and are still non-profit ministry dear friends. Now today, getting a second that cares for the and go around, I feel like God has recreated the orphaned same heart and spirit within the new Audio A abandoned children 2.0, and Mark and myself get to be involved of Haiti. Our vision (at different levels, but nonetheless both is to provide Christfamilyimportant) all over again. We were always a centered, band that wanted to be about more then just style care for each child…giving each boy the music or traveling around the world just and girl the opportunity to reach their Godto rock out, we always needed a grand vision. given potential. The fastest and easiest way Today that grand vision is the Hands and Feet to help is to become a child sponsor. Each Project. That’s the real heart of Audio A 2.0. child sponsor is invited into their prospective So to play music, create art that’s incredible, child’s Facebook group to receive pictures, while having the orphan and abandoned messages, and updates. We call it the “family children of Haiti as your drive . . .it doesn’t get room”. People can also get involved through our short-term mission trip programs. To learn any better then this. more, visit www.handsandfeetproject.org CM: Mark, you owned the stage when 22

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CM: Mark, looking back now on your physical vocal issues from singing incorrectly, what advice can you lend to fellow singers about what steps they can take to safeguard their singing voices? Mark: The one thing I would encourage vocalists to do is to trust their microphone and sound engineer. Don’t try to sing over the band...let the PA do the hard work. When I started singing, there were only floor wedges. Every night I felt I had to sing my hardest just to hear myself. That said, I would encourage vocalists to sing with passion. I have no regrets about singing the way I did. I left everything I had on the stage. CM: Kevin, you have been a part of the dcTalk rise to success and now you are with Audio A, another group that has a ministry focus too. Tell us what it is like from your perspective to step onto the stage as part of Audio A and sing not only the new songs, but the old hits as well? Kevin: It is not in the least bit peculiar for me. It’s actually almost as if I traded bands overnight and then had to learn the old material for a contest or something. But now that we have fashioned an album together I already feel at home with a new family of artists. Music to me has always been without boundaries, and so the transition for me was not huge. We knew about Audio A from the very beginning, as we, (dcTalk) were a small factor in getting them a label deal. After we brought them to Forefront they basically just bloomed (no pun intended) into this rock and roll touring juggernaut. A lot of those early days were about performance as well as songs, and Audio A always put on a good show as well as writing credible music and radio songs. When Mark and Will approached me last year it was a bit surprising, but not overly so, as we have had much history between us. Also the opportunity to see Tait flourish

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with the Newsboys settled any doubts that it could be done in my opinion. The thing that separates what we are doing from other bands that go through lead singer changes, is that we are doing this primarily for the Hands and Feet project. When I learned about the inclusion of the non-profit from the label to the touring and positioning of song material, I was in 100%. Making the first video to “Kings And Queens” in Haiti was a seminal moment for me. It introduced me to what they had started and gave me a vision of what needed to be done. I am extremely proud to be a part of this chapter in the Audio Adrenaline odyssey, and hope to be a part of it for quite some time. CM: You know Kevin, I have watched that video a few times and I thought to myself the same thing… I thought it must have really meant something for you personally to go and experience the work there in Haiti. To be back out on the road after several years with a touring schedule, is it just like riding a bike? Is it tough getting back in rhythm with the backto-back shows and sleeping on a tour bus?

vocal pop group. Singing for AA, I can really concentrate on singing the song in its entirety, and because of that, I don’t get bored as easily. Audio Adrenaline’s music is much Kevin: The big misconception about me, more about being in the moment, and in my and there are many, is that I just disappeared opinion is not as structured as dcTalk, so it is for 12 years after dcTalk took a break. Actually, quite a fun process performing it. Also, it is I have been quite busy making records and quite a vocal workout. In dcTalk, I didn’t sing doing shows as a solo artist. Not many people quite as much, as there were always 2/3 of the know this, but during the 12 years from dcTalk song being taken up by Michael and Toby. to now, (being in Audio Adrenaline), I have Bus life is a whole other story... In dcTalk, at toured quite a bit as a solo artist. A lot of least in the last few tours, we had our own bus overseas shows have been solo, as we didn’t and basically had it to ourselves other than the do a lot of touring in Europe and abroad as rare occasion of visiting Management or family dcTalk, so when I got the opportunity to do members. On the Kings And Queens tour, we it solo, it fulfilled a desire in me to go outside share the bus with one of our opening acts, the United States with my music and my art. Group 1 Crew, as well as a couple members of That being said, I never was able to perform our road crew. It’s a bit like going back in time in a country like Haiti. It was an eye opening with that, I feel like I am just starting out again experience, and I loved every second of it…. on the road in my early college years. We as even being completely drenched in sweat in dcTalk shared buses back then with road crew the ultimate humidity, wearing a black button and opening acts… so I am looking forward down and jeans. to Audio A having its own space. I will say that singing in a rock band has fulfilled another desire, because performing in dcTalk was more about being 1/3 of a very

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How Mercy Looks From Here Amy Grant Sparrow/EMI Christian On her first album in 10 years and, perhaps, her very best work since the seminal Behind the Eyes, Amy Grant draws inspiration from the fabric of her life (no, not cotton) as contemplative, but ultimately hopeful sentiment flows from the pen of Grant (on 10 of the 11 cuts) and several supporting writers, telling tales drawn from real life experience including: the transition to being a mother of adult children, yet still nurturing when needed - as well as several songs inspired by the passing of Grant’s mother. What tethers it all together, besides the universality of human experience, is the singer’s oft-stated reliance on the unmerited favor of God to help weather any storm that may present itself. The vibrant opening cut, “If I Could See What Angels See” sets a purposeful tone with an optimistic reflection of eternal perspective vs. earthly wisdom. Elsewhere, “Don’t Try So Hard” again encourages the wounded soul to rely on God’s grace, benefiting greatly from the warm tone of James Taylor on harmony vocals, while the gentle ballad, “Shovel in Hand” chronicles the emotions a parent feels when seeing adult children go through trials, and was inspired by the tragic death of her son’s friend while driving home from college. “Better Not to Know”, also drawn from Grant’s own experience, describes in metaphor how sometimes life’s richest bounties come even in the midst of tumultuous circumstance. In addition to the earlier contribution from Taylor, the record sees guest spots from Sheryl Crow, Will Hoge, Eric Pasley, and the legendary Carole King, whose distinctive vocals add bounce and clarity to the lovely modern folk/pop vibe of “Our Time Is Now”, which also features husband Vince Gill, as well as Grant’s children. Marshall Altman provides empathetic, organically understated production, with just enough frills to sound appropriate for radio. In fact, the disc is most comparable to Grant’s first classic album, Age to Age stylistically, with a currency augmented by today’s technological advances. The most effective element of the whole collection has to be Grant’s voice, which is imbued with a weathered, soulful character that rings with the authenticity of life experience. Ultimately

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a profoundly encouraging record, How Mercy Looks From Here is a vibrant collection of thoughtful, reflective ruminations on life and the passage of time, from the lens of one who realizes the purpose for which she was created. Bring Your Nothing Shane and Shane Fair Trade Services Bring Your Nothing is a vibrant, warm record that draws its immediacy from the fact that it was tracked by the artists and their mates (including Jason Hoard from Third Day, Josh Moore, late of Caedmon’s Call, Tyler Chestor from Fiction family and band alum, Joey Parish) simultaneously in one room over the course of a week while the band lived in community during that time. Born out of the two Shane’s songwriting class, where they teach songwriting principles and theology, the duo come up with a solid blend of theologically rich observations and worshipful, vertical sentiments, making this not exactly a worship record, but with a strong relational focus. A theme of grace weaves its way through the track listing. The funky, Steviefied title track is a reflection on God requiring nothing from us but obedience.....His grace fills in the blanks created by our sinfulness. “The One You’ll Find” finds a simple lyrical home set to an arrangement that would feel at home on the latest Mumford and Sons album. The sparse “You Loved My Heart to Death” paints a stark portrayal of Christ’s death, burial, and resurrection. “Without Jesus,” taken from 1 Corinthians 13, reminds listeners the best things in life mean nothing if Christ is not in them. The surefire radio hit “That’s How You Forgive” defines grace in a straightforward but powerful way. Definitely the duo’s most expansive, yet cohesive project, Bring Your Nothing is a triumphant attempt to bridge the worlds of congregational worship and authentic, artistic musical exploration. It does so in a major way. From the Saltland to the River Paul Colman Independent www.paulcolman.com Perhaps the perfect example of the way commercial labels can extend a clearly delineated

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“ceiling” on the creativity of an artist more interested in growing than pushing product, Paul Colman (and band Paul Colman Trio) is an artist who released a few records of modest success between 2002 and 2009 that always carried with them the stigma of promising more than they delivered. Well, Colman has released a fine, FINE independent record called From the Saltland to the River that is refreshingly free of radio formula, both in musical expression, production, and in lyrical expression. Liberated from the expectation to “nurture” a certain demographic, Colman writes a record that seems particularly directed to the more marginalized factions of the Christian population, speaking in inclusive, day to day language of things like loss, emptiness, and self-tyranny in clear language laced with creative metaphor and provocative imagery. That he manages to be bracingly direct at the same time is somewhat a marvel, again, an indictment of modern Christian lyricism and the limits put on the way artists seem allowed to express themselves. The record is a beautifully conceived concept album describing the transformation of the human heart from one that is dead, dry, and empty (a Saltland is the Australian equivalent of a desert) to one that is full of living water. The first seven cuts form the “Saltland” portion and, along with sporting telling titles like “Your Cactus Heart”, “The End of Myself”, “Love is Where You Left It”, and “I Miss You”, among others, they also are more muted and sparse, instrumentally, allowing Colman to perform these songs more freely in a live environment. The “River Portion” comes out rocking, with taut, aggressive arrangements that suggest joyfulness and personal triumph, both in tempo and in the inherent richness of the melodies. Again, Song Titles tell the story: “The Best is Yet to Come”, “Getting Back to You”, “Saved My Life”, and “Home Again” all speak to a sense of finding what is lost..... something that fills emptiness of an unloving heart. Saltland features some of Colman’s most appealing songwriting, simultaneously accessible and smart. “Getting Back to You” is a lean, celebratory pop-rocker that has a slight bluesy edge and some tasty slide guitar work. “Saved My Life” is jagged, melodic, and full of vitality. “Your Cactus Heart” is a particularly expressive song that balances esoteric metaphor with a beautifully delicate folk melody. “Home Again” rides a somewhat

militaristic vibe, with aggro-percussion effects married with a pop based chorus and Colman’s voice run through auto tune, to smart effect. It would actually take to long to describe everything that is good about From the Saltland to the River, so suffice it to say......this is a career highlight for Mr. Colman and firmly places him in the vanguard of Christian indie artists who have eschewed the machinations of the industry for the control and freedom of following their own idea of how God is directing them. This one is a KEEPER! Through the deep, Dark Valley The Oh Hellos Independent www.theohhellos.com For folk fans and enthusiasts of quality lyric-writing and musical composition, The Oh Hellos’ Through the Deep Dark Valley will easily fall into one’s favorite albums--equivalent in majesty to Gungor’s “Ghosts Upon the Earth” and Mumford and Sons’ “Sigh No More.” The title, presumably derived from the 23rd Psalm, “Though I walk through the valley of the shadow of death, I will fear no evil: For thou art with me”, introduces the primary theme that The Oh Hellos illustrate throughout the album: the love of a beckoning God throughout life’s hardships and despite our rebellion. Through mesmerizing songs of lamentation, regret, and hope, The Oh Hellos encapsulate the dynamics of life and bring their listeners on a melodic journey they’ll want to live over and over.

like the worship classic, “Your Grace is Enough” and “Turn Around” (which rocks, live, with the same Tom Petty-esque glory of the recorded version) are new tracks, “Burning In My Soul”, a re-working of “A Mighty Fortress”, current radio hit, “I Need You” and the title cut, which most faithfully continues the melodic rock direction of Maher’s wonderful The Love In Between. While not an artistic breakthrough or work of conceptual genius, All The People Said Amen is, simply, one of the more enjoyable and better executed collection of songs that has been released in the past year. Fiction Family Reunion Fiction Family Rock Ridge Music

“tight” than the band’s debut, Fiction Family Reunion finds Jon Foreman (Switchfoot) and Sean Watkins (Nickle Creek) still valuing diversity of style and economy of lyrical expression, yet they definitely hit the sweet spot in the songwriting department. Working in the hyphenated spectrum of “indie/folk/ pop”, the boys show a huge affinity for Beatles inspired chord progressions and melodies, along with folk instrumentation with a few forays into bluegrass. Lyrically, Fiction Family are pensive and simple, colorful and muted, brazen and reverent all at the same time. The songs are tightly knit and polished with plenty of room for nuance, and the playing is magnificent. Clearly, Foreman and Watkins

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All The People Said Amen Matt Maher Essential/Provident Matt Maher may be better than any other artist working today at finding that precarious balance between making music that labels and radio are comfortable with, yet features more artistic integrity than your usual fare. All The People Said Amen is a collection of live tracks and 4 new recordings that forms a pastiche of sorts, mirrored by the album cover which sports various photos, handbills, and set lists from Maher’s tours, creating a representation of Maher’s career to this point. Maher is, of course, a well-regarded worship artist who dabbles in bluesy, heartland rock and roll with an eye towards redemptive messages. The reason this record works SOOOO much better than most retrospectives of this nature is the fact that Maher writes great songs and performs them with a fervor that is palpable, even on a live recording. Amongst live favorites

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are wicked musicians, which allows them to segue, artfully, from the Johnny Cash inspired “Just Rob Me” to the “Copeland goes baroque” ornate beauty of “God Badge. While more of a “fun” album than Foreman’s Switchfoot output, Fiction Family Reunion is the type of record that will cause listeners to hit their repeat button ad nauseam. It is that catchy! On My Way To The Sun John Elefante Independent. All I can really say after hearing John Elefante’s stirring new album, On My Way To The Sun is “Thank GOD for real music!” Eschewing the compressed, delay-ridden sound of modern Christian radio fare, Elefante draws from ALL aspects of his career on this epic, diverse release. It seems to be divided into sections with the first two cuts recalling both Kansas (preElefante, ironically) and Mastedon with long, expansive arrangements including two long solos by former Kansas mates, David Ragsdale (Violin) and Rich Williams (Guitar). The middle section is definitely an homage to The Vinyl Confessions/Drastic Measures era of Kansas with tight, accessible song structures and more commercial (but still vital) musical landscapes. The rest of the disc explores Elefante’s roots, including 70’s classic-rock sounds but especially the affinity he has always felt with The Beatles (Paul McCartney in particular). He continues to avoid the songwriting clichés associated with much that the modern Christian era has produced the past few years as trite, repetitive lyrics and sonic motifs are replaced by classic musicality and gorgeous melodies. The disc also carries some emotional weight as Elefante writes from a very personal viewpoint (amidst some standard vertical sentiment), especially on the genuinely affecting, “This Time” which marries an “Oasis” style melodic structure with power ballad dynamics to effectively portray the confusion and ultimate triumph of a girl who decides at the last minute not to abort her baby. Full of sentiments very near to Elefante’s heart, On My Way To The Sun is a big, bold album of real, authentic music that is skillfully played, for those of us who remember what that sounds like. Shawn McLaughlin is a hard working dedicated, tireless worshipper of Christ

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PRODUCT REVIEW

Waves Manny Marroquin Signature Series Plugins By Michael Hodge

Space and Ambience. All six have options for Predelay, and 3 band EQ with Compression. Manny also added a Phaser and Distortion. I’m beginning to see a pattern…Distortion is now your friend. It adds depth and cool factor to your reverbs. On vocals it sounds high dollar, and so much fun with the other added elements. One of the reverbs sounds very Bricasti-like which is one of the most popular verbs used by top mixing engineers. Most regular guys can’t afford one. I was impressed. On drums the Plate and Rooms were both cool. By adding Distortion and some Phase it becomes amazing. The Triple D is named for the 3 D’s, DeEsser, DeHarsher, and DeBoxy.

This month I’m excited to review the Manny Marroquin signature Series plugins from Waves. We all want our music to sound the best it can be. It doesn’t matter if it’s a home studio demo or a professional master. Waves makes plug ins that are usually going to take you to farther than the ones that come stock in your DAW. This new series is the fifth set of Signature plugins co-created with famous mix engineers and Waves. To me it is the most interesting one to date and at the top on my list of must haves. It also won Best of Show this year at NAMM 2013. The plugins showed up just in time for a record I’m mixing for Hamilton Loomis, an upcoming Blues/Rock artist out of Texas. There was such a buzz at NAMM about these plugins, I couldn’t wait to try them for myself. I’ll start with the Delay plugin. As a guitar player this was my first to try. Possibly the most versatile delay I’ve ever seen. In a word it’s “killer”. It’s a stereo delay with individual delay times and feedback, then adding EQ, Reverb, Distortion, Doubler, Detune and even a Phaser. I loved this on Guitars, It gave the Solos some needed depth with a little fairy dust added. You can also get some of those classic expensive sounding Lexicon delay effects. This plug also is very Keys friendly. I think the most interesting use for me was on the vocal. The modulation and distortion effects bring excitement and unmistakable vibe. You’re going to love this plug.

It’s designed as a vocal plug in, but very usable for other things as well.

elements are similar to the distortion found in the other plugins. The attack and release if very unique to this distortionplug in. You are able to adjust how fast the distortion engages and releases. I really like this plugin on Bass. It adds a growl and attitude that brings the Bass forward in the mix and helps define the notes. I’m throwing it on the Wurly for several songs for some added dimension. I love this plug on vocals as well. You might try it on snare for some added character. The EQ plugin is a hybrid equalizer combining the best of Manny’s six favorite EQ’s. The High and low pass filters are modeled after an SSL, The low filters are based on a Quad 8 or Neve 1073; the lows/low mids are Quad 8 or Motown, the mids/ high mids are based on a NEVE 1073 and API 550B, and the High frequency EQ is based on an Avalon 2055. I found this to be a very musical EQ. The idea behind it is pure genius. I was able to get aggressive results from the EQ and yet the High end is very beautiful. The “air” type frequencies are smooth and musical. I was able to get great results on everything I tried it on.

Described as an all in one vocal fixer, it addresses problemetic issues with a unique 3 band Multi Frequency Compressor. It is simple to use and works wonders. I opened it up on a lead vocal channel that had traditional De-Essing, Compression, and EQ. I was able to match and probably beat what I had already done In summary, these are some of the most to it. DeBoxy was very helpful getting my vocal inspiring and useful plugins I’ve used. Each one sitting in the mix just right. The simplicity of is well thought out, and super friendly to use. design makes for a very fast work flow. It is a no They are also great learning tools. As I used brainer go to plugin for vocals. them in different situations, I kept thinking… The Tone Shaper is a Four-band linear-phase So that’s how he gets that sound. If you want parallel compressor. What that means is that it your mixes to stand out and have a little of the keeps the phase integrity of what goes in & out magic that Manny brings to his mixes this is a during processing. no brainer investment. On my wish list: More This keeps the weird stuff at bay. There is also instructional videos and demonstrations for guys starting out. a Width setting to widen the stereo image.

This can be used as an individual Compressor/ The system requirements for Mac are OSX EQ on an individual track, and works great in 10.6.8 -10.8.3, Core Duo 2.3Ghz w 4GB of sub mix of Drums or BGV’s. You could also use Ram, and on PC, Win 7 or 8, Intel Core 2 Duo 2GHz / AMD Athlon 64 or equivalent and 4GB it on your stereo buss. of Ram. Supports RTAS, Audio Suite, VST, I like this on BGV’s. It works different than a AU, MultiRack Native, and up to 24bit/96kHz normal eq. It is very smooth and since it has resolution a Direct level setting, It becomes a Parallel Compressor allowing the transients of the The MSRP is $500.00, street price at the date original signal through. This is helpful on things of this writing is $299.00. Waves website also has new specials each month. For more like drums, perc or acoustic guitars. information, go to www.waves.com. The Reverb plugin is exceptional. Here are The Distortion Plugin is something that you six different reverb types with 3 room sizes can use on lots of things. I like that they added for each. They are Hall, Room, Chamber, Plate, this stand alone option. I’m sure some of these

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Stage Fright: Act of God or Moral Failure? by Paul Stevenson

As Jeanine climbed the platform stairs, the stress hormone cortisol flooding her veins. Her eyes saw people but her body reacted like they were Bengali tigers… in a crouch. The lyrics for each verse of the song she was about to sing are deleted from her mind like banks of stadium lighting clicking off, leaving room for the two most important reactions when faced with a Bengali tiger: fight or flight. There’s no time for reason in a situation like this so the forebrain also goes off line. She doesn’t know it any more but the song she was going to sing was all about how God is there when you need him and how his strength rises in us when our strength is gone. She’d practiced hours for this moment….what went wrong? Just like there are many causes for flu like symptoms, stage fright (or the more accurate term “Performance Anxiety”) has several causes. For some of us, the system God gave us to prepare for danger has a hair trigger. Think Peter, a sword and a nearby ear. This isn’t just all in your head, it’s in your body. When danger is perceived, catecholamine hormones, like adrenaline, prime your body for action: heart and breathing rate increase, you start to sweat. To overcome this, try to be on the stage for a while before it’s your turn to perform; this lets the adrenaline fade. Read a passage of scripture, talk to the audience, ease into a song. Also, if possible, use less structure. Research has shown that increased improvisation reduces stage fright because there isn’t one “right way” to do the song.

the ones that start with the letter A. Unlike Jeanine, you aren’t in a “state” of anxiety, which infers a temporary condition; you have the “trait” of anxiety. This “always on” way of being can be great…think Gideon drinking water with his head up instead of down…. and this skill may serve you well as you plan worship because your antennae are always up for details others miss. But that same hyper-awareness has you imagining all the possibilities for errors as you start to perform. Your solution is going to require more effort. Appraisal theory says that our thoughts change our emotions, not the other way around. The Apostle Paul proved this when counting persecution as joy. Being careful of what you say to yourself in the ramp up

For some, stage fright is more like a constant phobia, always with them even before the time for performance has arrived. Volunteers may just decide not to put themselves in such a position but you may need to by virtue of your role in the church. There are 68 phobias….and those are just 32

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to your performance is critical; stop the negative thoughts, replace them with positive ones. You can’t be anxious if your body is relaxed: slow your breathing, relax your muscles, re-phrase your thoughts towards excitement as opposed to fear. Later, when you’re back in planning mode, your thinking will likely devolve into all the “what if’s” again, but knowing you can operate in either mode when necessary should reduce your stress. Lastly, consider a pharmacological approach if necessary. Not many I know refuse pain medication on principle. We are not perfect and our bodies are not perfect. Some of us get migraines, some are prone to depression and some prone to anxiety. I won’t even bring up the little blue pill. Wait, I just did. A category of drugs called “beta blockers” fill up our neuro receptors before the adrenaline does, pre-empting the “fight or flight” response. Get your Medical Doctors advice of course. I checked, and while the Bible has many important things to say about worry and anxiety, picturing people in their underwear is not even in any of the expanded versions as a remedy for stage fright. Jeanine forgetting the words to “His Strength is Perfect” is not an indictment of her faith or character though those of us with the anxiety level of furniture might smugly quote scripture to her. We don’t know why some people get the tough assignment of being gifted musically but plagued by anxiety. We just know, like all challenges on a fallen earth, we have to deal with it with thoughtfulness and integrity.

Paul Stevenson is an Assistant Professor of Psychology at Roberts Wesleyan College whose interests include mind/body/spirit connections. He has been involved with worship planning in large and small churches for a number of years.

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PRODUCT REVIEW

Rebel Boards by Mitch Bohannon

Bruce met these guys at the Dallas International Guitar Festival in April. My son, Sam, and I drove up to help (tough job, but someone has to do it!). I’ve always found pedal boards fascinating. But, being an acoustic player, for a long time I never considered myself as a candidate for one. They kind of work like bars and stripes on a military uniform! The pedals on the board are badges of honor.

board ½ inch off the ground allowing clearance for cables that need to run underneath. Each b o a r d comes standard with two locking ¼ inch TS/ TRS chassis jacks (input from guitar and output to amp) and two male instrument cables (from the jacks) underneath the board. The top cable slots are cut in a unique “dumbbell” shape, which allows any type of cable to be After gathering a few pedals to use, I did run through the board. Also standard is an IEC finally get a small board and recently outgrew grounded AC input jack with a female power it. It’s been looking junky with cables and connector underneath. nothing was fitting correctly. I brought home a I have just a few things on my board, the Rebel “Rockstar” board from the Dallas event. largest being my personal mixer for my Elite I absolutely love it. I’ll give you the low down Core in-ear monitor. Remember, I’m playing on the build and then tell you how I’m using it. acoustic… I have a wireless tuner pedal This board is extremely strong, built of (the Intellitouch Freedom One), a volume 9-ply hardwood that is reinforced with steel pedal, the TC Helicon Mic Mechanic for my brackets. The top is on a 9-degree pitch, which vocal microphone, and a chorus/delay pedal. is very comfortable; making reaching pedals Because I am running wireless, I did not need in the back quite easy. Rubber feet keep the to use the input jack on the right side of the

board. So, instead of not using it, I plugged the male ¼ inch jack into the output of my inear monitor. So the traditional guitar input is now my hardwire to my ears. I love the way that works… it keeps that cable off of the board and out of my way. I have a variety of signals processing around or though my pedal board. For my Mic Mechanic, the XLR cables route nicely through the “dumbbell” holes too. I keep a direct box concealed under the board for my “Roots Box” stomp-box. The board has enough space underneath to hold the power supply for all my pedals, a direct box, and a bunch of extra cable! Instead of running the built-in output to an amp, it is going straight into the direct box for my acoustic. The “Rockstar” that I am using sells for $199.00 There are larger boards and the option for making custom changes. I didn’t mention the 4” stainless steel handles and the sweet custom road-worn paint job. The guy who started this company is a worship leaders as well... that’s cool. I like the look and feel of this board and I’m proud to use it! www.rebel-boards.com

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You Can’t Always Get What You Want... by Keith Mohr & Sue Ross-Mohr

Artist: It’s a tough market. You have to just about be in the top 40 to make any money in Christian music. That’s why our friends from *** went country. **** is touring with *** right now. I’m not sure what they have planned now with that going on. Anyhow, I do Christian music because I am a Christian. We do write a lot of relationship songs that are not really Christian now, so I guess we are positive alternative rock. Not sure where this is going? If you can get us in some killer venues, that’s what I’m currently pursuing.

not right, or even to having sin in your camp.

Artist: Dude I never asked for advice; you’re giving it to me. I’m not 18. I’ve been doing music Hi folks, Keith here. Sue has given me the entire many years, recorded many albums, came very pen this time around for our Indie Mechanics close to several record deals, and shared the stage column. As you long time readers probably know, with many “A” level acts. I don’t know who you our articles have been way better the past few are and why you would remotely take interest in years since Sue and I have been collaborating on guiding us. I thought for a moment you wanted to the articles. She is a thought-filled writer. Thanks somehow help. My advice to you is to know whom honey for giving me the whole piece of paper this you are giving advice to and make sure they want it. time! No hard feelings, I will take in account after this not Over the past 16 years of interacting with Keith: So why are you emailing 82 people in the to send out random emails, and check your camp for sin. We have all fallen and none are perfect. independent Christian artists, I hear from many Christian music industry? who lament that they ‘cannot’ do what they want Artist: Just trying to get us out there man. Take Keith: So sorry for sharing my thoughts with you to do. Well, welcome to the real world, where care. to help in any way, and taking my time to encourage most of us are not doing or getting what we want you. Sounds like to me you are burned out and a :) For some odd reason, it appears that Christians Keith: I get that. But to me, you appear to be bit angry. I totally get where you are coming from. think that because they believe in Christ, that they confused as to the who, what, where, when, why, I’ve been there myself. should get everything they want, and that to them, and how concerning your band and the purpose. You are looking for paying gigs to make enough Jesus is their magic genie inside a bottle ready What criteria make for a “killer venue”? Hope you to grant whatever 3 wishes they come up with. don’t mind me asking questions. I’m trying to figure money to go at this full time. You told me your band needed $250,000 per year to keep their current Ummm.. newsflash.. It doesn’t work that way. Sorry out how to help you. to be so harsh, but that’s me :) Artist: I appreciate the help, I’ve just been standard of living, right? Yet, you have an issue with screwed over by so many indie folk in the so-called people who work with Indies making money from For example, I had a very interesting convo their time. Do you see the inconsistency in this with an artist who emailed me and many other music biz, and in the long run they want a dollar mindset? Industry people need money just like from a sucker indie band, so I have my guard up. “industry” people CC (never CC a group of you do. Imagine working at your job for a possible people in an email because they can all see who It was a generic email from my personal email percentage of income you may make, when its not you emailed and it looks very unprofessional) their contacts. You were in my contacts from years ago 100% dependent upon you to deliver the goods. mp3 unsolicited (never do this btw, as it will do I’m sure. The vocalist and me have been in this I’ve done artist management that way and spent more harm than good for you) looking for a “show.” band for 6 years together. He used to be the tons of hours with indie bands getting them ready, (hate the word “show”) We knew right away this drummer, and I’m the guitarist. We went through just to have them flake out on me and quit because artist was throwing his bait out into the deep abyss many vocalists. Some were awesome singers, but they needed to drive 6 hours to a show. So I don’t looking to land a big one. So of course, I had to we couldn’t find that good singer to stay or work do artist management anymore. reply to point out the error of his ways and show out. So the former drummer took up the front man spot. He is a killer front man, but he is a so- What I find in the indie scene is the majority of him the light. (I know, it’s a bad habit I have :) so vocalist. We have awesome musicians in the acts are nowhere near ready for the big stage. Or Here’s how it went… oh, and the good news group now. The band has gone through many for that matter any stage. But they all have a sincere is that we both learned a few things about one changes over the years, but we still feel this is a desire to go out there as fast as possible and with another in the process and what God wants for our calling to reach people for Jesus while at the same little practice and do it. But they go at it not with lives. time writing stuff about everyday life. It has always the intention of serving people and ministering Keith: It is not wise to send an mp3 file unless been our dream to play music for a living; always, and getting better at their craft. They go at it with first requested. Many people check email on their my whole 33 years of life. I’m married with 2 kids hopes someone from the industry will discover phone and if they have a data plan, it could cause and work in a factory that I hate. We all dislike our them and save them from Indie hell. Most cases, it them to be charged for the data transfer. Just a jobs. We know we could really do something in this doesn’t work that way. The payoff just isn’t there world if given a opportunity, I’m just tired of trying. like it used to be. They get focused on the industry word of advice to you. Book good shows, have fun, and make the most of behind the stage and neglect those in front of Artist: You are off our list; indie bands never get it is my attitude now. the stage. The people. They look at people like help by the way :) Keith: Ahh, thanks for sharing that with me. Helps fishermen look at fish: something to be caught and sold. Not good. It’s not about what you get. Keith: We help indie bands all time. What kind me to see where the issues are with your band. of help do you need? My note was to help you not Artist: I took offense to the sin in the camp thing, irritate industry people, so I’ve already helped you. Artist: I think this conversation is a waste of time. I’m sorry for that. Really, really bad night at work. Take care. I was ticked off before I even read the email. I’ve Artist: Been doing the band thing for 12 years, played many large shows with many touring bands, Keith: Really nice. I think I see why your band been doing the band thing since 1999, toured it’s all about the money. Exposure for the band, get doesn’t have opportunities. What I have found is up and down the east, lived in the van, and have our stuff our there, get connections is all we need. that when things are not happening the way we done all those things you talked about. Music is want them to happen, it could be for a variety of a business; I try to take a business approach to it Keith: So, why do you pursue Christian music? reasons. Perhaps it’s not God’s will, or the timing is

Continued on page 40.

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Ask Joe by Joe Riggio

Q A

My daughter is left-handed and wants to learn to play guitar. Can I have a righthanded guitar strung the other way for her to learn on?

The only guitar that can successfully be strung backwards to be played left-handed is an arch top style guitar with a floating bridge. Common acoustic and electric guitars cannot be turned around and still play in tune with itself, due to the pre-set angle of the bridge. Part II to the answer to this question is my opinion and may not be well accepted by everyone out there, so I apologize in advance if I offend any lefty’s out there! It is my opinion that playing the guitar, as well as many other musical instruments, is not

Q A

a right-handed or left-handed activity, but I’ve heard that the market is a 2-handed skill that must be learned and is offering some low prices developed over time. This is much different lately. than other left-handed intuitive things like handwriting and eating with utensils. It’s really a matter of which way you decide to put the For the first time in the effort and time in that it takes to develop the history of the vintage guitar skill of playing the guitar. I’ve heard people market, things are about as say, “I’ve tried to play right-handed, and I volatile as other investment just can’t do it”. Nobody can do much on the markets. After the bubble of guitar, at first, but give it time and you’ll save 2006/2007 sale prices have yourself the frustration of not being able to fallen, along with homes and the like. I feel that play other’s guitars and not being able to find the market is self-correcting a bit right now many guitars to choose from if you develop and that it is still not the greatest environment your playing left-handed. to “invest” for purposes of turning a profit Of course, there are exceptions such as in the near future. However, there are great physical challenges that might restrict one opportunities out there to get in on prices hand from doing its function. But, just that are much lower than we’ve seen in the remember: there are no left-handed pianos. recent past and acquire that dream guitar Is it a good time to invest in vintage guitars? that you’ve always loved. I will warn that it is very important to purchase from a known and trusted dealer or through a trusted advisor before pulling the trigger. One current phenomenon is that some dealers are “asking” prices that are much higher than what a particular piece might actually be “selling” for, in the current market. This is commonly due to them having too much invested in the piece because of the past market pricing, and they might not be ready to take the loss that would be required to actually sell. The bottom line is: buy what you love at a price that you can live with, and enjoy the instrument.

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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Improving Musicianship | Inspiring Talent

Product Reviews:

Editors’ Corner

Kamaka HF-4 Baritone Ukulele

Skinny Jeans Don’t Make the Worship Any More Authentic

LR Baggs Lyric: Acoustic Microphone

Record Reviews

MAY/JUNE 2013 Volume 11, Issue 3 05

74470 58440

US $5.95 Can $6.95

Citizens l Worship Central l Passion l Jesus, Firm Foundation (various artists)

“First Hellos and Last Goodbyes” by Doug Doppler

Product Reviews Riversong Guitar

Selective Hearing Amy Grant l Shane and Shane Paul Colman l The Oh Hellos Matt Maher l Fiction Family l John Elefante

Waves’ Manny Marroquin Signature Series Plugins

MAY/JUN 2013 Volume 18, Issue 3 05

74470 95962

US $5.95 Can $6.95

Stage Fright: Act of God or Moral Failure by Paul Stevenson

Indie Mechanics (cont. from page 36)

Keith: Same here, God bless you!

now. Bands make’s money off of merchandise. I have a vision to take it much farther and give back to the homeless and those in need. It is next to impossible for an indie band to get on stages such at big Christian Music Festivals, or to ever get real exposure. Sure some places offer Indie competitions for a spot on a side stage, but you usually have to pay $100 or more to even enter these things. It’s nothing but a money racket. So if you can advise me on this it would be awesome. I need help booking us. I’m out of contacts and resources, I really wish we had a booking agency that would work with our work schedule and help us get some decent gigs. For now I am working 2nd shift from 3:00pm to 11:30pm so weekdays would not work. I hope to be back on dayshift soon. We would be good for just about any Saturday and Sunday. Who should I contact that you may know?

<--- End of discussion --->

Keith: Sounds like you are pretty restricted as to when and where you can conduct concerts. It’s hard to go full time with those limitations. Here’s the deal about booking agencies. You probably know this... they seldom make cold outbound calls. They take hot incoming calls from churches and promoters who know about the act and who want to book them. The booking agent coordinates the acts schedule with the act manager and then they route tours. The problem for your band is since you do not have hot incoming calls, a professional agent wont be able to book you, since most people do not know about you guys. Right now, you are your best booking agent. Every member of your band should be sniffing out opportunities that are within a one-day drive from your base. How do you find opportunities? Easy... look at other band calendars. Most have their shows on their profiles page along with their contact info. I know you have been pursuing your music for years, and it may seem like you may not realize your dream. I think the Lord wants to know if you are OK if you don’t ever get on the big stage, or if you don’t ever have thousands of eyeballs on you at your shows and millions of ears on the radio. The Lord simply wants to know if we are OK with His portion for our life. Remember what He did to the Israelites after he freed them from slavery in Egypt and led them into the desert on the way to their promised land?? The people started complaining about the portion of manna he was providing them, and the Lord did not like that. They were not humble, they were not grateful. They were not OK with the portion. So, the Lord turned their 40-day hike into a 40year journey. They went around and around in that hot, dry desert. They finally made it, but their leader, Moses, never did. Why? Because He did not obey the Lord. Even after all Moses did for the Lord. Oh, that was another issue, you see, Moses and us as believers, we do not do anything FOR the Lord. The Lord doesn’t need us to do anything FOR Him. The Lord does His thing through us, and we become a part of His- Story. History. This life is not our story. We are a chapter of His Story.

Such an interesting exchange, I can totally see this artist’s points and concerns. It’s not easy to be a full-time Christian band. Not easy at all. I say you must be 100% ready, 100% willing, and most importantly 100% able to really make a go of it if you want to be a full time touring artist. Even though we may want to be full-time, tour the country, and play “shows”, it may not be the Lord’s portion for your life. There is nothing wrong with a “want” in your life, as long as it does not consume you. Unbridled wants give way to all sorts of sin, which as I stated above can stop you dead in your tracks. I asked a few of my Facebook friends what came to mind concerning the first line of the chorus to that song from the Rolling Stones, “You Can’t Always Get What You Want.” Brandon Bee wrote: Your dreams and God’s dream for your life are different. The trick is to pray that God will be in your dreams so that they are one in the same. Laying down your desires for God’s perfect desire. Sam Bowen shared: Whoever said you were supposed to get what you want? Diana Stimmler Winkler penned: Be careful what you wish for. Many times there is a steep price for what you “want”. Chris Sandoval wrote: Sometimes I think the problem is we do get what we want, not necessarily what we need. And since sometimes what we want is self-serving, it leads a lot of the time to an unfruitful endeavor. The trick is recognizing this:-) Mike Westendorf: Recognizing the difference between a need and a want is important though. Michael Muilenberg summed it up with this provoking thought: God promises eternal life in heaven to those who surrender to Christ. He does not guarantee happiness while living on earth. To sum up this article: …But if you try sometimes… well you just might find… you get what you need. Psalm 23: The LORD is my shepherd; I shall not want. Creatively His, Keith Mohr and Susan-Ross Mohr INDIEMECHANICS www.indiemechanics.com

Keith Mohr and Sue Ross-Mohr of “The Mohr Creative Group” 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 Ross-Mohr founded www.theinnervizion. Artist: Seems like you and Jesus have been com in 2003, a creative promotions /marketing/ hanging out lately. Thanks for the encouragement. consulting service to individuals and companies I feel like I have learned a few things. worldwide.

MAY/JUN 2013

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Seventh Chords (Part 2) Last Issue we looked at Dominant 7th Chords along with the Mixolydian Mode. This time let’s take our 7th chords farther by comparing the four types of seventh chords in the major scale. The four types are, Major Seventh, Dominant Seventh, Minor Seventh, and Minor Seventh Flat Five. All the chords are triads with an added fourth note, that’s where the seventh comes in. We will be in the key of D major, so all the chords will be played on the D A B & E strings. The root of each chord will be played on the D string.

five in the scale, C#m7d5 Example #1, Here is how the chords look stacked up with their notes in order of the D scale. D Maj.7 Em7 F#m7 1. D E 3. F# G 5. A B 7. C# D

G Maj.7 A7 F# G A B C# D E F#

Bm7 A C# E G

C#m7d5 B D F# A

C# E G B

Example #2, here are the chord diagrams with notation and tab. play them ascending and descending, notice how the roots are on I don’t think it is necessary to know all the the D string. theory that goes into the making of the chords. There are a lot of players that have a gift and play great without it, however it is pretty cool when you look at how something is made and a light goes off in your head, “oh that’s how they do that”, so here is how they are composed within the D major scale (D E F# G A B C#). D Major Seventh is composed of a major third between the root and the third, a minor third between the third and the fifth, and a major third between the fifth and the seventh. Example #3, Here is how the notes in the The two major sevenths chords in the D major chords stack up on the guitar. scale are D Maj7 and G Maj7. STRING D Maj.7 Em7 F#m7 A Dominant Seventh is composed of a major (D) D E F# third between the root and the third, a minor (G) A B C# third between the third and the fifth, and a (B) C# D E minor third between the fifth and the seventh. (E) F# G A A7 is only one dominant seventh chord in the scale. You should be able to see how the notes fall

E Minor Seventh has a minor third between into the scale making a Harmonized Major the root and the third, a major third between Scale. the third and the fifth, and a minor third between the fifth and the seventh. There are three minor sevenths in the D major scale, Coda: Bypassing all the theory that goes along with the seventh chords is that we have Em7, F#m7, and Bm7. learned the Major 7th, Dominant 7th, Minor 7th, C# Minor Seventh Flat Five is composed with and the Minor 7d5 chords on the top four a minor third between the root and third, a strings. minor third between the third and the fifth, and a major third between the fifth and the seventh. There is only one minor seven flat

G Maj.7 G D F# B

A7 Bm7 C#m7d5 A B C# E F# G G A B C# D E

Roger Zimish is a freelance guitarist/indie artist and clinician based in Orlando, FL. worships at GODS House Orlando. He has represented Audio-Technica, Greg Bennett Design Guitars by Samick, G&L Guitars, Visual Sound and PedalTrain Pedal Boards. Contact Roger: Email rogerzimish@ yahoo.com, www.rogerzimish.com, zmanguitara2z.blogspot.com, twitter and facebook

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MAY/JUN 2013

BRYAN DUNCAN OFFERS HOPE FOR INDEPENDENT ARTISTS by Christopher Redner I’ve known Bryan Duncan for decades. I was still a teenager when I met him, but even then I recognized in him more than his prodigious talent. He was unfiltered like few people I knew, and much more open and accessible than most performers. I connected with him right away.

recording contract. Joyride, released in 2000 of technology, social media, and commerce on Diadem Music, was his last album with a called “crowdfunding”–even though most of big music company. that audience hadn’t even heard of it.

Bryan went on to record three independent albums with The NehoSoul Band. He performed hundreds of concerts, solo and with the band, but he did not thrive as an Years later, Bryan still has amazing talent. independent artist. He’s become more self-aware and less self- “During my time with the big record labels I absorbed. He’s picked up some great insights learned a lot about recording,” says Duncan. and considerable wisdom, much of it while “But I never understood the marketing, being knocked around a bit. In short -- and promotion, or business sides of music. I could everything with Bryan is in short – he has write and record songs, but I didn’t really more to offer his audience now than ever. understand how to get them heard.” That’s saying something for an artist who has “The big record companies produce a lot of the talent and history Bryan has. albums. If you’re not prepared to compete I’ve always been a bit troubled that Christian with them for attention at radio and in the music is SO focused on developing and press, you simply don’t get much.” promoting young, attractive artists almost to the exclusion of anyone who doesn’t fit that Despite Duncan’s prodigious talents, his mold. Pop, rock, and country music have career languished. Without radio, marketing, plenty of radio stations that play songs from and promotion he couldn’t effectively reach the past and, as a result, many older artists the people who had loved his music in the who are thriving. Where are the equivalent ‘90s, much less grow his audience. He wasn’t Christian radio stations playing great songs able to recoup the funds he’d invested in his independent records, and his opportunities from the past? to perform concerts dwindled. By 2010 The Rolling Stones, Bob Dylan, Sting, Dolly things looked pretty bleak for Bryan. Few Parton, Van Morrison, James Taylor, and Reba people had even noticed his 2009 release Still McEntire are all still widely known and earning Dancin’ with The NehoSoul Band. Touring with great livings through their talents. Tony a band wasn’t economical, and the prospects Bennett had some of his greatest success after of recording again seemed slim. age 60. U2 is the most successful band in the world more than 35 years after they formed. “I thought that was it Where are their equivalents in Christian for me,” says Duncan. music? How many Christian artists over the “Maybe I wouldn’t age of 45 could say their careers are thriving? get to record again.” Sure, some of Christian music’s major talents Meanwhile, l had from the past are still around. A few are doing convinced Bryan to pretty well. But most who are still writing and begin reconnecting performing get little to no radio airplay and with his past audience are not on the established record labels. Each through social media. year it gets harder to earn a living with their Starting from scratch and with no budget, musical talents. it was a slow process. Bryan Duncan’s songs were a Christian radio But Bryan loves to staple in the 1990s. Between 1993 and 1997 connect with people, so while his social media his singles charted number one 10 times, and presence lacked breadth, it had depth. other radio hits followed. I believed Bryan’s core audience would But the ‘90s ended and so did Bryan’s respond to a new approach– a convergence 42

MAY/JUN 2013

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“Honestly, I was skeptical,” says Duncan. “And when Christopher proposed a plan to raise $40,000 through crowdfunding, I almost choked. Maybe this crowdfunding thing could work at some level, but I thought we’d be lucky to raise $10,000.” I recommended the Kickstarter platform for Bryan’s first crowdfunding campaign. But Kickstarter’s policy, requiring participants to meet their funding goal or get nothing, raised the stakes. If we set his funding goal too high he would get no funding. I argued that if he set the goal too low he’d only partially fund a recording and have nothing left for marketing, radio, or promotion. He’d be repeating his past mistakes as an independent artist. I’d never run a crowdfunding campaign at that point, but I’ve had relevant experience with charities. I did a lot of research and I wasn’t pulling a number out of the air. In the end, Bryan trusted me, and his Kickstarter campaign launched in October 2011 with a goal of $40,000. When it closed on Dec. 16, 2011, some 446 backers had pledged $47,638 to the project. Even after taxes and campaign expenses there would be enough to record a new album and do at least some marketing and promotion. “The crowdfunding process and how we continued to involve the audience after the campaign closed also had a profound influence on my songwriting,” says Duncan. “Many of the songs on this album are about how God is working in my life through my relationships. There’s a current of gratitude that runs through Conversations.” Bryan’s core audience has responded enthusiastically to Conversations, many calling it his best recording. But for Bryan to have a

viable career the album would have to help him reconnect with more of his old audience and win over new fans. Radio airplay would make it much easier to accomplish those goals.

this time on Indiegogo platform, to fuel a radio and promotional campaign. That funding allowed us to pay for the distribution, promotion, and other expenses involved in Christian radio is a notoriously hard format breaking a song at radio. for an independent artist to enter. Most Bryan Duncan’s song I See You brought him Christian radio stations introduce very few back to the national radio charts again for the new songs each month, usually far fewer than first time in 13 years, proving that innovative the total number of new singles introduced music business models for independent artists by established artists on the big labels. can compete with the traditional methods of To have any chance of being heard above the big record companies, although it is an uphill crowd, an independent artist must do at least battle. some of the radio production, distribution, I See You is a grateful acknowledgement of and promotion that the big record companies God’s presence and participation in our lives. do for a new single. The costs for such a “My wife does this thing throughout the day,” campaign easily run $8,000 - 12,000. says Duncan. “She’ll be working at something But things are looking a bit better for talented and out of the blue she’ll just stop, point to independent artists, whatever their ages, the sky and say, ‘I see you!’ I had to smile thanks to social media and crowdfunding. because it is such a great example of being in They make it easier for artists to build a the moment with God. I don’t see that kind viable model for recording, promoting, and of acknowledgement of God very often. It distributing their music that isn’t dependent seemed like the perfect idea for a song.” on being signed to a major record company. And they make it possible for independent “I See You also is a recognition that God artists to marshal the resources and build a used my friends and audience to help me team that will help their songs compete for learn how to use my gifts in new ways,” says radio airplay with singles from the big labels. Duncan, “I’m grateful I can continue using my talents and follow my calling even though I’m We used the crowdfunding process again, not signed to a big record company.”

Bryan Duncan started performing professionally with the Sweet Comfort Band and recorded six albums with them before launching a solo career. He has released 14 solo albums, including his new album Conversations, and three more with The NehoSoul Band, selling in excess of 1.2 million records and videos. Duncan was inducted into the Christian Music Hall of Fame along with Amy Grant and Al Green. His recordings have been celebrated with four Dove Awards and one Grammy Award. His new album, Conversations, is available at SoGoodForTheSoul.com

Christopher Redner is a media strategist, an award-winning television producer, and the founder of Children In Need Inc. (ChildrenInNeed.org). He can be reached at Facebook.com/ChristopherRedner.

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STILL LOVING THE DISHEVELED BRIDE by Bob Bennett

It happens. My pal Bruce Adolph (on the masthead here as Editor and President … but he usually juggles a dozen or more items even on a slow day) thought he’d assigned me an article. So when I got the email asking, “Where is it?”, I helpfully replied along the lines of “Where’s what?”. And then I offered to find something useful for this issue’s Coda column. So, the dozen people that read my painfully occasional blog might recognize this article, but most of you won’t. If it doesn’t quite work, don’t blame Bruce. It’d be just “one more thing” piled on the poor guy. So, slightly adapted and offered for your dining and dancing pleasure ... For the past thirty-six years, by choice, I’ve been in and around Christian Churches of almost every description. Utterly setting aside for a moment how one might assess my overall fidelity to the Faith, my best intention has been to be about the business St. Paul writes of in his Epistle to the Church at Philippi: “Be keener than ever to work out the salvation that God has given you with a proper sense of awe and responsibility. For it is God who is at work within you, giving you the will and the power to achieve his purpose.” (Philippians 2:12b Phillips Translation). To me this has always meant that, while there are some things only God can do, we are still called to participate in our own lives. This is not a gussied-up version of “God helps those who help themselves” which, while unbiblical, has its merits in context. But neither is it “Just let go and let God” with the sense that our lives are merely on Cosmic Cruise Control until the end of our collective human road-trip. We have work to be about, we have responsibilities. Our ticket is fully paid for, but no one (and, as I think about it, no One) forces us to get onto the train or ties us to our seats once we’re aboard. The pivotal “face to face” meeting between humankind and the Second Person of the Trinity ( Jesus) first happened at His birth. Of course other essential things that are part-and-parcel of the Gospel are to come. Cross, Resurrection, etc. But at the first, it’s Incarnation. We Christian folk rightly like to emphasize that there’s nothing anyone can do to earn their way to favor. And, conversely, there’s nothing we can stop doing to assuage God’s singular and holy commitment to both justice and mercy. But sometimes we’re tempted to miss the fact that discipleship requires actual effort. Not earn-your-keep effort, but effort that’s necessary to the functioning Body of Christ and to demonstrate that what we believe (or, perhaps, don’t believe) has actual, incarnational consequences in the touted real world that we all purport to want to live in. We’re not called to escape this present level of

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existence, we’re called to fully engage with and inhabit it. We’re called to INCARNATE, to make flesh-and-blood-real the things we believe. To put our every day existence “money” where our all-too-easy-to-talk-about-it “mouths” are. We are, in a healthy sense not to be found in the DSM-IV, to “act out”.

receive a pat on the back or a sucker punch. It’s a full-contact Religion. It may look like a Convention of Underachievers, but it takes guts to even attempt to play nice with others. In order to get along with people, you actually have to keep company with them. Not just “friend” them and then ignore their news feed. It would take a book’s worth of writing to ** recount some of this and I’m not yet convinced I’m not excusing or minimizing bad behavior in that book is in me, but I’m thinking about it. the Church. God forbid. For instance, even now, Part of the reason for this blog is to work out I’m wrestling with the world-class anti-Semitism some of these ideas and see where, if anywhere, from the pens and pulpits of early Churchmen they might lead. Suffice to say that for every who are still considered to be Heroes of the one thing that I might have gotten “right” along Faith. How can this be? And what I can I do to the way, I’m pretty sure there’s a much longer make sure it doesn’t happen on my watch in the and more painful list where I’ve been flat-out, Name of Jesus. Good God, help us. no-excuses “wrong”. That pertains to me as an But as I once answered my Dad after he individual and, if I may be allowed to make the opined, “Church? It’s full of hypocrites.” … “Hey, leap, to all the individuals who collectively make we need a place to gather too!” up the Church. Those who might not be inclined to darken the door of a church often have an understandable bone to pick with the beliefs and practices found within those pointy structures. I can’t blame the suspicious. I’m a card-carrying member of the Congregation and I dearly love the Church. But sometimes I’m just shaking my head over how we manage to collectively snatch defeat out of the jaws of victory. I loosely remember a years-ago quote from Brennan Manning where he mixed-and-matched a description of himself as a “son of the Church” but concluded that he, nonetheless, had a “lover’s quarrel with Her”. (Don’t over-think that juxtaposition boys and girls, just move on.)

Me? I’m a lifelong singersongwriter living in Southern California. I still get to sing, play guitar and make albums for a living. It’s not a get-richquick scheme, but what a GREAT job it is. Recently my pal Bryan Duncan (regularly present in these pages) mentioned me in a Tweet and I got a ton of new friends in the bargain. So, I’m taking the opportunity to again grab onto his coattails and say “Bryan Duncan? Yeah, he’s a personal friend ‘o’ mine!” Let the new friendships commence!

** The last sentence of this paragraph, while absolutely not a direct lift, is probably attributable to my awareness of a great quote I discovered from Dr. Nicholas Perrin: “At its worst, Western Protestantism has functionally defaulted to a notion that views the Church as little more than a loose association ... the equivalence of Jesus’ Facebook Friends.” So while I’m letting my sentence stand as is and pleading innocent to outright thievery, in an abundance of caution I’m giving full credit to its more-than-likely Christianity calls us to be in proximity to others antecedent. just as whacked out as we are. Close enough to Somehow we feel strangely drawn to the Family Thanksgiving Dinner even though we know, by definition and experience, there might be some annual disappointment and frustration served up alongside Grandma’s righteous stuffing. Yet even with scandals, lunacies, infighting, and serious-damage done, I still want to be part of the Household of Faith. I would like to think this desire is something more mature and insightful than just a siege mentality in sheep’s clothing.

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