Worship Musician! Magazine - May/June 2013

a few thoughts on

REVEALING JESUS from

DARLENE ZSCHECH

Product Reviews:

Editor’s 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

0

74470 58440

7

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

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 peerform 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 performances.

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 a any n 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 ttoo everyone. every between track and a MultiTrack? Also, a click b etween an accompaniment 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 lilive 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 simply a recorded track that loops continuously. I think people A loop is simpl 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

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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

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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

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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

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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 guitar ar amp am while plugging straight into your church’s sound 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 guitar amplifier.

The respo bowl. Whatever the circumstance,benefit something has to be donesound to save the service. 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 pprogram within most anyy DAW. Or yyou could assign g g the pads or knobs on your MIDI keyboard to fire off the tracks from your keyboard. way, you’re never touching the laptop laptop.

This way

StudioLive 32.4.2 A powerful hardware/ software mixing solution, the StudioLive mixer and Studio ether th to t let l t you run your One software work together MultiTracks operations and get great main and personal monitor mixes.. Plus, wireless integration th your iOS device! lets you take control with UM3X RC IIn-ear nn-ear monitors ar are ccritical to work working with MultiTracks. These M The iisolating is solating earph earphones allow eeach membe member of the team companimen and the live to hear the click, the accompaniment, instruments and vocals clearly.

A360 Thanks to convenient, full-featured ull-featured ppersonal mixers such as Aviom’s A360, each performer on cust in-ear the platform gets his or her own custom monitor mix. m The result? rres monitor More c dent andd consistent confid c confident pe erformaances! performances!

Phillip Ed Philli Edwards ards d The founder and CEO of MultiTracks.com, Phillip is a worship leader and a musician with professional touring g exper p ience. experience.

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

E

E!

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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* 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.

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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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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

Editor’s Corner

Skinny Jeans Don’t Make the Worship Any More Authentic

MAY/JUNE 2013

Features

I don’t have the space here to go deep on this issue, and this topic deserves someone who is more educated and well versed to address it than I am, but in this short editorial I want to present 8 three recent anecdotal observations I’ve had. Hopefully it will spark an important discussion among those it concerns in the worship community.

Product Review

By Bruce Adolph Kamaka HF-4 Baritone Ukulele

All three of these friends of mine have been worship leaders at 10 From the Drummer’s their respective churches for over 20 years…

Perspective

Case #1 A vibrant woman in her late 40’s; fashionable, and

By Carl Albrecht well versed in modern worship tunes at a very style conscious It Doesn’t Get Easier Than church. The pastor didn’t replace himself for a younger hipper This (OR Maybe I Mean version – just her – the worship arts pastor. The end game – she Harder…?) was out of a job. She kept the company line – spoke well of the ministry, but I believe deep down she not only felt set aside, 12 Keyboard but jilted. Thankfully, a large church in another state where she

By Ed Kerr had once gone and helped train their worship team asked her On Our Own to come on staff full time as their worship arts director. They had to transplant their family and the husband was able to move his 15 Bass service business there to start fresh again along with his wife.

By Gary Lunn

The Keys to the Pocket Case #2 A late 40’s man that had started the church with the pastor. He had been the only worship leader they’d ever had.

The pastor’s desire was to keep him in leadership. He was 16 Vocals

By Sheri Gould given a satellite church to not only lead worship at, but also A Pain in the Neck be the pastor; giving the messages as well. The senior pastor still saw him as a leader at the satellite campus and also as a 18 Tips for Tight Teams leader for the other main campus staffers. The end game… he

By Sandy Hoffman was re-packaged and had a job. Did he feel somewhat jilted?

Skilled, Flubbed, and Loved Yes, but respected as well.

Case #3 An older man in his late 50’s. He had led the worship 24 Product Review team and served the church faithfully. He couldn’t wear skinny

By Mitch Bohannon jeans, but wasn’t overweight; he just looked like a regular guy LR Baggs Lyric: Acoustic in his late 50’s (kind of like me but with a short haircut). One Microphone day his pastor walked into his office and said, “The worship isn’t good anymore.” The gentleman answered back, “How 26 Songchart “Victor’s Crown” would you know? You stand in the front row with your arms

by Darlene Zschech, Israel crossed every Sunday.” The end game: he is out of a job and Houghton & Kari Jobe thinking of another career path this late in his life.

I know that certain careers have regular life cycles. I know 30 Record Reviews that the older folks are to be mentoring the younger ones, to

By Gerod Bass help raise them up as leaders too. But how and when, with • Citizens what forewarning and what spirit this transpires is what I have • Worship Central Continued on page 48

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

by The Adolph Agency, Inc.

VOL. 11, ISSUE 3 38 The Worship Community

By Doug Doppler First Hellos and Last Goodbyes 40 Guitar Grab Bag

By Doug Doppler Thinking Ahead 42 The Band

By Tom Lane Songs and Arrangements, Connecting with Your People!

44 Camera

By Craig Kelly Do You Have What It Takes To Be A Free-Lancer?

46 Product Reviews

By Mitch Bohannon Roots Box – Stomp Box & Kyser Electric 6-String Capo 50 Percussion

By Mark Shelton Cajon & Djembe: Paradiddles, Permutations & Patterns 52 Worship Team Training

By Branon Dempsey I’m With The Band 54 A Few Moments With...

Paul Stevenson Overcoming Worship’s Biggest Obstacle: You

• Passion • Jesus, Firm Foundation (various artists)

34 FOH Engineer

By Bill Gibson The Difference Between Balaced & Unbalanced Wiring 36 Ministry + Artistry = Profitability? Creating your MAP™

By Scott A. Shuford 5 Tips for Successful PR

Interview 20 A Few Thoughts on Revealing Jesus from Darlene Zschech

by Aimee Herd

WORSHIPMUSICIANMAGAZINE.COM MAY/JUNE 2013

7

PRODUCT REVIEW

By Bruce Adolph

Kamaka HF-4 Baritone Ukulele OK, let’s be transparent here… I’ve been fascinated by Ukuleles for several years now. I bought one in Kauai on my honeymoon with Judy 12 years ago. I purchased an inexpensive overseas model to play for fun and to get the feel of it. Then, as this little instrument’s popularity began to come back into the spotlight about 5 years ago, I started buying older vintage ukes and reselling them for a profit. I bought a 1960’s Kamaka baritone and really liked it a lot. I kept it for a few years and would play it for Judy. She loved the tone too. I later sold it to a friend and have missed it ever since.

Then at this year’s NAMM Show I went by the Kamaka booth, and amongst a long row of soprano, tenor, and concert size ukes I saw one beautiful baritone.

I was instantly drawn to it! The guys at Kamaka were friendly and listened sympathetically as I told them about missing my vintage baritone. We worked out a plan to get this one in my hands for a product review. Can you tell by now that I might not give it back?

Here is a brief overview of the history of ukes in Hawaii, and why the Kamaka family name is synonymous with it (taken from their website).

When a Portuguese immigrant, Joao Fernandez, strummed away for the natives in 1879, he introduced to the islands what was later to become Hawaii’s first vehicle of musical expression. Called “braginho,” the Portuguese name for the four-string instrument, the natives renamed it “ukulele,” the Hawaiian reference to the flea suggested by the jumping motion of the hand in strumming. In 1916, Samuel K. Kamaka, then a young man, who had returned from his travels on the mainland as a musician, joined with friends in making ukuleles for personal use. This gave rise to his first and only business venture which he started in his home in Kaimuki.

The family business has been handed down ever since. Sam’s sons, their sons, and even some of the great-grandkids are involved in the making of the ukes.

Kamaka Hawaii manufactures 9 different models of ukuleles: standard (also known as a Soprano), standard pineapple, concert (also known as an Alto), tenor

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MAY/JUNE 2013 WORSHIPMUSICIANMAGAZINE.COM

in it. Being brand spanking new this uke needs to be played so it will find its voice and “open up” more; but the tone was good right out of the case, so it will only get better as time marches on. I wish I could tell you I know how to play a good list of classic Hawaiian ukulele songs, but the truth is I generally play my normal batch of songs and try seeing how it plays out on the four high strings of the uke. Some songs adapt nicely, while other songs push you into situations where you have to think of another way (like another chord voicing) to make the song “work”. The old worship song, “It is All About Jesus” was a breeze to play and it sounded great. Another jazzy composition I play from time to time (just four chords and a riff in 4-string, tenor 6-string, tenor 8-string, between) made me scratch my head baritone, standard deluxe, and the and find the work-around to pull it off. concert bell shape deluxe.

Once I figured it out, it was rewarding!

A good ukulele should have excellent That is the challenge and fun of playing sound and be comfortable and easy the uke in the first place for me. to play. It should also have good tone, The recent popularity of ukuleles is truly intonation, and resonance. The primary amazing. You hear them being played wood used by Kamaka is from Acacia on the radio in several different genres. koa, the largest endemic tree in Hawaii Even Christian radio has a few pop (cool sidebar: Acacia wood is from the songs featuring the uke on their play-lists family of wood that Noah used to build now. “Hey Soul Sister” by Train, as well the Ark with). Koa is one of the most as their video of the same song, helped desired woods for ukuleles because of to reinvigorate the uke’s popularity, as its beautiful color, grain patterns, and well as Eddie Vedder’s (from Pearl Jam tonal quality. Koa wood is generally fame) solo record, “Ukulele Songs”. grown on the Big Island in areas that Recent statistics from NAMM report were once fields of molten lava. After that in a three month period 340,000 purchasing koa lumber, Kamaka new acoustic guitars were sold… in naturally ages the wood for at least that same three month period 310,000 four years at the factory. The natural ukuleles sold! Many cities are starting aging of koa wood is a vital and time- uke clubs where folks gather to play consuming step in the ukulele making and celebrate the ukulele. I think that process for Kamaka. not only will guitarists pick up ukes to So why do I prefer the baritone uke get a different feel and fun instrument (the largest of the uke family) over the to play, but that the reverse will happen others? It is simple. The baritone has a and many folks who learn how to strum wound 4th string (D) and it is just like and play a uke will get curious and pick playing the 4 high strings on a nylon up the guitar as an instrument as well. string guitar. This makes it easy to I can hear the Hawaiian Islands adapt to and opens up some creative calling now, can’t you? I think I need chord inversions that get you moving up to go and take the tour of the Kamaka and down the fretboard.

Ukelele plant in Honolulu. Are you in?

Now let’s look at this particular bari… The HF-4 Specs: Overall length:30the tone is clear and bright on the 1/2”,Scale length:20-1/8”,Total # nylon B and E strings, and rich on the frets:19, Frets to the body:14 midrange D and G strings. The fretwork is precise and the overall look of the The Kamaka Baritone Ukulele comes with a hardshell case, warranty, solid koa wood is just beautiful. and a retail price of $1,445.00 Playing this HF-4 baritone was a treat, www.kamakahawaii.com and you can tell the quality is inherent

FROM THE DRUMMER’S PERSPECTIVE

It Doesn’t Get Easier Than This

Is Enough” – (C.Tomlin); “Friend of God” – (I. Houghton); “I Am Free” – (J. Egan)… and many, many more. You can use the “playing 8’s” exercise I wrote about in the last issue as a way to build stamina and consistency with any of these grooves. In fact I think it’s the best way to develop solid time keeping.

(OR Maybe I Mean Harder…?)

OK, here are some other basic variations you should have total control of. Pattern #3.

By Carl Albrecht

I said in the last article that we would get back to today’s top drum grooves. If you have not been following me go back to the article archives and check out the last three issues. We worked on 1 2 & 3 4 1 2 & 3 4 8th note ride patterns with 16th note fillers or ghost note concepts, We call this the “dotted quarter, eighth to half note” pattern. I which I call the Modern Alternative Rock groove. The next article would count all the eighth notes even though I printed the main th was about the 16 note “Train Groove” that is played with a single stroke roll approach. Then I took a break from writing out counts in the pattern above. It’s also popular to play the “3 &” the grooves and talked about how to practice locking in your pattern that we often hear. groove by using an exercise called “playing 8’s.” I felt it was important to explain how to practice these ideas to build control and solid time keeping. Repetition is a great teacher.

1 2 3 & 4 repeat Now we return to seeing another basic groove written out so

you can keep building your drum groove vocabulary. This pattern And just one more… The dotted quarter to eighth note pattern. is probably considered the easiest pattern in all of drumming.

But, it’s also treated with the least respect. Everyone can play this pattern. My newest students learn this first. The mechanics are not 1 2 & 4 repeat a big deal. Making it feel just right for whatever song it’s part of is the challenge. Here it is. Drum Pattern 1.1. The second bar looks The only trick to this type of pattern is that it emphasizes the different, but it’s s really the same pattern. I just want you to see it “off-beat”, or the syncopation, as it is known in musical terms. written in various styles.

Any pattern that stops at an “and” count, or any note between the lead hand, would have this challenge to it. Newer drummers may feel like the foot always wants to follow the stronger beats or downbeats. Slow down if you notice any tightness or “flamming” of the notes. Flamming is a term we use to describe 1 & 2 & 3 & 4 & repeat…………….. notes that do not perfectly line up on top of each other. You Some of you are saying, “Come on Carl. You’ve got to be might use this pattern in Matt Redman’s “Blessed Be The Name” kidding. I played that groove the first day I sat down to a drum and others. What you will hear quite often is that these patterns kit.” But the key with any drum pattern is making it rock solid and will be interchanged according to the version of a song you feeling right for the song you play. Yes, this groove is easy, but listen to. Either way, be sure you keep it solid and consistent can you play it for five minutes and make it feel great? Quite often throughout each section. That’s one of the reasons I recommend I hear drummers allow the tempo to shift from section to section; the habit of practicing patterns in 8 measure groups. verse to chorus; chorus to bridge. Practicing and playing with a click track of some kind is a must! BUT, you have to learn to relax For those of you who are just beginning, don’t worry about and play with smooth movements, because when there is no click, building speed and chops (A musical slang for lots of technique the tempo can wander. Keep your body loose and relaxed when and tricks.) Work on your precision and feel. This is always a you play. No tension! Record yourself in every situation and listen drummer’s first job! Really it’s every musician’s first call. If this is not your foundation, then none of the flash and tricks will matter. back so you can get a real perspective of what you sound like.

I encourage those of you who have played a long time, and This groove can be played with so many songs: “Everlasting God” – (B.Brown) – played more “dead center”; “I Will Boast” – think you’ve got all this together, to record everything you do.

(P.Baloche) – played more “pushed & edgy”; “Sacrifice of Praise” Listen back to it and honestly evaluate how you sound. You may – (D.Moen) – played “very laid back.” These are three different be surprised you’re not as solid as you thought you were. Work songs, with three slightly different approaches that very much on any weak spots you notice. Make adjustments as needed. If affect the feel of each tune. So in the hundreds of songs you might it’s sounding great, then be content to know you’re building on play a pattern for you have to get the vibe or feel for each song. a good foundation. Be faithful to add to it whatever helps you It’s also a staple in tons of secular songs. This basic groove is the grow as a musician. Let’s all stay humble and grow in all that foundation of almost all modern music – A solid, simple downbeat the Lord has planted in us. and backbeat with the most common subdivision of time… eighth notes.

Blessings on your groove! Carl

Here are some of the most common variations you should have total control over. Number two is just making the kick drum play all Carl Albrecht has been a professional drummer & the quarter notes. We call this playing “4 on the floor.” Just keep percussionist for over 25 years. He has played on over 70 Integrity Music projects; Maranatha Praise Band counting and internalize the 8th note feel.

Songs that use this groove would include “Forever” & “Your Grace

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MAY/JUNE 2013 WORSHIPMUSICIANMAGAZINE.COM

recordings & numerous other Christian, Pop, Country, Jazz & commercial projects. He currently lives in Nashville doing recording sessions, producing, writing and continuing to do various tours & seminar events. Visit his website: www. carlalbrecht.com or send an e-mail to: lmalbrecht@aol.com.

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SOUND LEGACY

KEYBOARD

By Ed Kerr

stage where the band played), I was asked to play alone. The logic was that a single instrument would be least likely to drown out what was being said during In considering what to write here, the baptisms.

I realized that I haven’t written much Because I know that some of you who about those moments when we keyboard are reading this sometimes are in a similar players are playing on our own. On situation, I want to explore some concepts Easter Sunday in my church I had one of that might influence what could be played those moments. The band had been all in those moments. in for our first three songs. Drums, bass, acoustic and electric guitars, me on keys, It’s most common for a musician to 3 vocalists - Fairly typical modern worship choose a familiar song and play it again and again as an underscore for what’s instrumentation. taking place in a service. One of the When it came time for us to celebrate a interesting things about playing solo number of people being baptized (we’d keyboard at a time like this is that we can set up the baptismal right in front of the go wherever we want to harmonically.

On Our Own

FIGURE 1

We can extend the intro. We can repeat the first phrase of the verse again and again. You get the idea. There’s complete freedom to do whatever we want.

Of course we have to be careful that the music we make doesn’t distract from the ministry that’s taking place. That said, there’s no reason what we play can’t be creative. We can (and should) stay engaged musically rather than going into “Here come the same chords for the 400th time” mode.

I’ll use “10,000 Reasons” as my example and explore some ways I might play this well known song as underscore.

Here’s the standard harmonization of the Chorus in the key of D (figure 1).

Like I said, this is solo piano now. No chord chart or leadsheet to follow. Here’s an idea for taking some liberties with the melody and chords of the chorus: The next example (fig.2) uses some chords that are not in the key of D. It also changes the key center to the key of A for a bar in measure 3. I understand that these kinds of harmonic liberties might feel out of place stylistically for your ministry setting. No problem. Here’s an option for playing the chorus using chords in the key of D and their inversions (fig.3).

FIGURE 2

FIGURE 3

Visit my website (kerrtunes.com) to listen to me playing these two examples and to download my reharmonization worksheet. This worksheet can help you find places to go harmonically like those I used in the two examples above.

Challenge yourself to introduce some variety into the repetitions of whatever you play. Give hints of the song’s melody, perhaps even play it through once in its original form, but let the repetitions of the section have variety. Melodic freedom.

Harmonic variety. Inversions. Chords held for different lengths than usual. Perhaps a few non-diatonic chords.

The canvas is blank in these ministry moments. Let your palette of colors be rich and your creativity unbridled.

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

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MAY/JUNE 2013 WORSHIPMUSICIANMAGAZINE.COM

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BASS

By Gary Lunn

The Keys to the Pocket In recent years I have tried to pick apart how I play, decide which parts are good and which are bad, and then come up with a way to explain it all; and I continually find it interesting that the simple things can be the hardest to explain. I consider myself a “groove” player more than a “chops” player, so my focus has always been more on explaining how to groove with a band (the drummer, more specifically) more so than about soloing, slapping, tapping (what’s that??), etc. I thought it might do me good to compile a short list of key elements to consider while trying to become a better “pocket” player.

impressed that he noticed (not being a bass player). Fast forward about a week to a conversation I had with a good friend who is also an excellent guitar player, but he also engineers, plays bass, plays drums, sings great (yep...one of “those”).

He was talking about the first time he ever tried to play bass on one of his songs and he asked himself, “Why does this sound so blah? I’m playing all the right notes and I’m right with the click. What’s the deal?” I said, “No groove, right?” He said, “Nope. It was ‘nee nee nee nee’ with no feel and completely inconsistent note durations. Bass playing is hard!” He First, I need to say that through the years said that it was after that experience when I have met or seen many musicians who he started really analyzing what bass seem to be able to play several instruments players did and began to get a grasp on adequately. But every excellent musician the subtle nuances that make good bass that I have ever met has always had a parts happen, instead of continuing to primary instrument that they specialized sound like a guitar player trying to be a in before they began learning other bass player. :) instruments. For instance, Paul McCartney Sorry for the long set up, but I felt it plays drums, piano, guitar, bass, and necessary to talk about experiences I probably several other instruments that I have had because it might help you don‘t know about, but his heart and soul make sense of experiences you’ve had is in the bass. He is a bass innovator. A or will have. Without even discussing specialist. An authority. You don’t hear the melodic aspect of your bass parts, other piano players talking about him the keys to playing in the pocket (in my being their main piano influence. The opinion) are to: same goes with guitarists and drummers.

Tune in closely to the hi hat. The space With bass players it is a completely between the drummer’s hi hat notes is different story. Personally I am guilty of generally where the drummer’s groove is. “stealing” from him practically every time You want to get inside the feel that is in I play a session. There is a certain kind his heart and you can always find it in the of slide that nearly all worship band bass subdivided elements of a drummer’s part. players do and they don’t know where it Typically, that is his hi hat, ride cymbal, or came from because they probably heard tom groove (if applicable). some studio guy do it on some recording Pay close attention to what bass drum they heard along the way. They have no idea that it’s probably a “McCartney pattern the drummer has chosen. If you slide” that the studio guy who played on decide not to play exactly what he plays, the CD learned from a Beatle record. But try not to play too many extra notes than his pattern (unless you are playing a I digress... straight 1/8 note pattern).

There is a reason for that rant. Recently at a session I received a very unusual Listen to the click (metronome) if there but kind compliment. A fellow player is one, and determine the relationship on the session said, “Man, I really love between it and all the different parts that your choice of note duration.” Everyone the drummer is playing. looked puzzled for a second, then we Consider your note duration as it relates all laughed. Then he said, “That’s what to not only the style of the song, but makes your groove happen.” It was a also the different sections of the song. very kind thing for him to say, and I was For example, if you are going to play a

rock song with a big intro, play longer, more connecting notes on the intro, then change the duration of the note to a 1/16 note shorter (a 1/16 note rest at the end of every note) which will create space between the notes. When the chorus comes along, you might keep the same duration in the verse on the first chorus but dig in a little harder, dynamically. “Choke” it back down for the second verse, but then let the notes ring out to their full value on the second chorus, or you might want to wait until the bridge to really “let ‘em ring.” Whatever note durations you choose, use the same ones all the way through each section in a consistent pattern.

Always maintain a consistent note volume in each section. Try to play as evenly as possible, in the dynamic sense.

Avoid letting notes jump out or drop drastically in volume in the middle of a pattern.

Experiment with “laying back” on certain sections to create a “fat-back” effect. You can easily achieve this by plucking the string with a little more “meat” of the finger rather than the tip. If you need speed for a difficult “lick” you can easily roll your hand toward the strings, which will facilitate plucking with the tip of your fingers. Whatever you do, DON’T RUSH! You can play on the center of the beat (if the bass drum is) but no farther ahead than that.

When you are not playing, listen to great bass players who have great feel and have been successful with their careers (remember that they became who they were for a reason). Study them. Pick their parts apart. Examine what they repeat in their patterns. You will be amazed at what you find from section to section, player to player.

Blessings on the work of your hands!

Gary is a session player in Nashville, TN. For recording bass tracks, contracting, producing, or comments, email garylunn@me.com.

WORSHIPMUSICIANMAGAZINE.COM MAY/JUNE 2013

15

VOCALS

By Sheri Gould

A Pain in the Neck Do you ever get part way through a set and notice that you have some pain or soreness in your throat or neck area? I’m going to address a few reasons why you might be experiencing that and steps you can take to help relieve the problem. Follow along, and it might even help to turn you into a better singer overall along the way!

Often my students complain that they feel a certain soreness after singing, and yet they don’t feel that it’s a “sore throat” in the traditional sense, or that it’s even directly the vocal cords being affected. What is it then and why does it happen? There are multiple reasons why this could be happening to you. Let’s look at a few.

IMPROPER SUPPORT There are many singers who do not understand proper breath support and its importance. These singers need to get a fundamental understanding of how the breathing mechanisms in the body work so that they can begin to employ proper breath support. However, there are many singers who DO understand proper breath support and yet there is one crucial problem: they don’t USE it --even though they understand the importance of it. Why is this?

I can’t emphasize enough how using the right muscles for supporting your singing can solve most of your vocal issues. Sadly, this is one of the last things singers often think about when developing their voices.

Creating a specific sound, style, or volume seems to be foremost on their minds; and yet they fail to realize that the fastest, best way to achieve most everything vocally starts with great breath support. Please take the time to learn what it means to support your tone properly. Make time to practice this in front of a mirror at home so that you can create good habits. Without taking this crucial step, you will more than likely default to old, inappropriate habits; especially if you play an instrument when you sing. (If you would like further instruction on proper breath support I have a DVD available called “Basic Vocal Technique” that can help you) RAISED LARYNX Most of us are unaware of the position of our larynx when we are singing or phonating. In fact, many people, especially women, have difficulty even finding their larynx. However, the position of the larynx is critical. Without proper larynx placement the muscles in the throat can become easily fatigued. The muscles become strained and tired from keeping the larynx too high. It’s important to learn how to sing with a relaxed larynx for many reasons, none the least of which is to avoid muscle strain. (For help with learning to sing with a relaxed larynx, try either of these DVDs I have available; “The Ultimate Vocalist” or “Basic Vocal Technique”)

try this: place your hand on your neck/ throat area and speak through the words of a line in your favorite song. Note the amount of vibration you feel. Next, sing that same line of your favorite song. Note the amount of vibration you have going on in your throat. Is it the same, less or more? If you felt essentially the same amount of vibration during speaking and singing, you may be resonating too often in just your throat. Now, keeping your hand on your throat, switch to humming through that same line on an “N”. Note whether or not you feel a difference in your throat when you sing versus when you hum. Humming on an “N” should register in your nasal cavity and relieve throat pressure. Learning how to resonate is various areas can help to relieve strain in the throat as well as give you a variety or “color” and style in your voice. (I have a DVD available on my website to help you understand this better if you need further help. It’s called “Developing Style & Creating an Effective Vocal Routine”)

If you are struggling with vocal fatigue like I have described, most likely one (or more) of these issues I have described is affecting you. There is always a possibility that you may have something more serious (some kind of medical condition) that needs to be addressed. If you feel Most people have a tendency to slip into that you do not have a problem with whatever is easiest and most natural for any of these areas and yet you still have them when they begin to sing on any kind consistent pain in the throat area when of stage or platform. So, if they have not singing, please have a medical doctor spent time establishing the good habits of (ENT) check you out. However, chances proper breath support, then they are most are you are simply singing incorrectly likely to support their singing the way they and causing undue stress and strain to support their speech. Most people, unless the muscles in the throat area. Without they’ve been through speech therapy, don’t a concentrated effort on your part to give much thought at all to supporting their change things, you will likely continue speech with “proper breath support”. They THROAT RESONANCE to have the problem. In other words—it typically default to the various muscles that are easily accessible in the neck/throat There are many different areas of won’t go away on its own. If you need area. resonance a singer can use while some assistance don’t hesitate to email me or visit my store to get some further This use of the neck/throat muscles doesn’t singing, however, without training many training. www.sherigould.bigcartel.com singers are unaware of where they are cause them immediate muscle fatigue unless God bless! they are pushed beyond their typical speech resonating and how to use other, different areas.

Therefore, many singers will default range, either in terms of volume, force, or Sheri Gould is an musical range. So if you are singing only in to whatever “comes naturally” to them. internationally acclaimed vocal Depending on the singer this will vary.

If your average speech range, you won’t likely coach. With a degree from stress or become aware of any stress for a you are struggling with a sore throat while the University of Ill, she has considerable length of time. But if you find singing, you may be resonating solely in been coaching since 1979 yourself singing beyond your normal range, your throat. When you resonate only in and leading worship since 1985. For weekly vocal tips, check out Sheri’s FB page at or if you find yourself trying to push for a your throat this can cause an overload www.facebook.com/officialsherigould. For great volume or grittier style, then you may of muscle use in that area, leading to information on products, including instructional strain.

To check and see whether or not start to feel the pain almost immediately.

DVDs, check out http://sherigould.com you are resonating primarily in your throat

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TIPS FOR TIGHT TEAMS excellence every time we play (or sing).

by Sandy Hoffman

Psalm 33:3b says, “Play skillfully with a shout of joy.” (NKJV) Sometimes it feels like that “shout of joy” is actually the heartfelt response to those moments when we finally play it right! “Yeehaw!” We tend to place a very high value on the quality the reception? Freak out if it doesn’t go of our performance. But what if that well? What happens if we flub it? What performance, from time to time, doesn’t if our special music, as Webster puts it, measure up? is “distinguished by some unusual (but sadly undesirable) quality?” What if we FLUBBED put our very best effort into it and it still Distractions, intonations, bad timing, too turns out clammy? How do we deal with little sleep, too much coffee, sound system the feelings of disappointment and un-met glitches, equipment malfunctions, etc., expectations of our own, limited musician- etc., you name it. Even after maximum selves? preparation, many of these factors can come together to shake our focus and LIMITATIONS? cause us to deliver a less-than-satisfactory I just celebrated my fifty-sixth birthday. As performance. How frustrating! We the years fly by, I’m noticing that I seem worked so hard to make sure... How to be wrestling more and more with my embarrassing! We attended to every own limitations. These sometimes result detail... How humiliating! Humiliating? in that undesirable-type special music we Now we’re speaking Biblically (see the just spoke of. Now for all you twenty- humility of King David in II Samuel 6:14somethings sitting out there snickering 23). When humiliation happens, does it smugly at the “old guy” whining over the mean that God is displeased with us? I inevitability of the aging process, please think not. James 4:10 tells us to “Humble understand that I’m not referring to new [ourselves] in the sight of the Lord and He limitations brought on by the passing of will lift [us] up.” Humiliation can be just as years. The fact is, it’s the wisdom of age pure a form of worship as excellence. It which is bringing a natural awareness, all depends upon the heart. followed by an acknowledgment of the limitations which were always there from LOVED the start! (“Nothing new under the sun,” When we play skillfully, it is an offering remember?) Perhaps this should result in a of excellence to God. When we flub lowering of those merciless expectations I it up, it is also an offering to God—of impose upon my musician-self. humility. I am convinced that God is not I play cello. I’ve been playing for forty- partial to one over the other. In the context five years. And yet, no matter how hard I of our worship and music, the most schlogg that thing to play with every ounce important word is: offering! I believe the of heart and soul I can muster, it never value of that offering is predicated upon seems to sound like Yo-Yo Ma! Go figure. the attitude of our hearts, not the polish (http://www.yo-yoma.com) When I was of our performance. When we invest younger, this freaked me out! Enough so to develop our skills to their highest real that I gave up playing cello again and potential, and present them as an act of again. But now there’s a difference: with worship to the Lord, He receives them as wisdom, I have begun to realize I never precious gifts. Whether skilled or flubbed, had the potential to sound like Mr. Ma in excellent or humiliating, God loves the the first place! What a relief. I’m finally offering and the heart which offers it. Both beginning to accept my own skill levels, our excellence and humility fade away in and to work from the paradigm of reality light of the true motive which prompts us to offer our worship to God in the first place. and not imagination.

It is our grateful love for Him in response SKILLED to His passionate love for us which drives Let me encourage you. You don’t have us ever on, presenting higher gifts of glory to wait until you’re older to have this for the honor of His name. skill-level-reality check. Do it now! Be Ahhh, released, totally honest with yourself and avoid all that performance-loathing down the Sandy road. There’s such a freedom in being off that merry-go-round of expectations.

Sandy Hoffman serves the God loves us at precisely the skill level which He created us to reach. If we have worship community at Christ done our best to develop our skills to their Church Santa Fe, NM and highest potential, then we’re presenting beyond. Find out more about his to God a pure and honest offering of “Tips for Tight Teams” online at:

Skilled, Flubbed, and Loved “When we play skillfully, it is an offering of excellence to God. When we flub it up, it’s an offering of humility. I am convinced that God is not partial to one over the other.”

EASTER It’s Easter weekend! Or at least it was Easter weekend when this was written.

By now, we’re probably all thinking more along the lines of how to stay cool during the impending long, hot summer. But for the moment, for tomorrow at least, let’s just say it is Easter Sunday, and today we’re all hustling (again) to prepare for it!

Yesterday was Good Friday. We enjoyed two very special services at Christ Church Santa Fe, one at noon, the other at 6 PM. These services included most, if not all of the usual components you might expect from a Good Friday observance: worshipers all dressed in black, solemn singing, crucifixionrelated scripture readings and pastoral reflections, tears flowing, candles burning, a cross on the alter—draped in black, fine art depicting the Passion of Christ, communion, blessings, and of course: special music.

SPECIAL MUSIC Special music. That’s an interesting term. If you’re a musician, it may fill you with fear, trembling, and butterflies as you prepare to step forward and render your best.

Depending upon your ‘tude, I suppose your butterflies could lean in the direction of ego and awe. Either way, I believe the words special music provoke unique feelings in each of our musician-hearts. Webster’s doesn’t include a specific definition of the two words together. Instead, they are given separate treatment, each loaded with their own interpretational opportunities: Special: distinguished by some unusual quality; especially : being in some way superior : readily distinguishable from others of the same category : unique, being other than the usual : designed for a particular purpose or occasion Music: a : the science or art of ordering tones or sounds in succession, in combination, and in temporal relationships to produce a composition having unity and continuity b : vocal, instrumental, or mechanical sounds having rhythm, melody, or harmony Though perhaps a bit uppity, this all sounds innocuous enough, doesn’t it? I mean, special music, how hard can that be?

Just how special is special music? Should we sweat the preparation? Worry about

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www.WorshipWorks.com

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Escape the expected. Experience graphite.

a few thoughts on

REVEALING JESUS Darlene Zschech has always pointed to Jesus in very genuine and singable ways, and now— in a newly entered season of her life—she brings the Body of Christ a fresh new worship experience in song and word.

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DARLENE ZSCHECH from

by Aimee Herd

Aimee Herd: I love what you said once, Darlene, “You can’t declare what you haven’t embraced and have it ring true.” I think that’s one of the things that is so endearing about the songs you bring to the Body of Christ—you’ve already embraced, experienced, and have had what you’re singing about ring true in your life; you’re singing from a place of testimony. It’s something of an example to every worship leader… to lead worship from that place of having been communing with God in worship, and in relationship with Him through thick and thin. Thank you for being a mentor for all of us in that.

So many know you from the many Hillsong worship albums, as you were worship pastor there. But in 2011 you and your husband Mark changed things up and are now senior pastors of Hope Unlimited Church in New South Wales, Australia? How did that move come about?

Darlene Zschech: I guess we started sensing that a shift was coming a couple of years before it actually did.

To be honest, I never thought we would relocate church/ home etc. in a million years, but I guess with God.. never say never!! Through a series of quite miraculous conversations and much, much prayer.. we decided to say “yes” to pastoring a beautiful little church on the Central Coast of NSW. Little did we know that God was totally setting us up for what we feel will be a most incredible part 2 of life…

AH: Had you been writing songs for a while and finally decided to record them, or did you write and co-write specifically for this project?

DZ: The writing process for this album has been more deliberate in its content.

The whole time I knew it was to be totally focused on Christ’s finished work, and as always, songs for the church to sing; but the timing of the writing came over about a 2-year period. We have also included some older songs that I just felt were important for the project overall.

different about it for you?

He is a genius! Super ADD, and with DZ: It’s funny how I think my last 2 a heart that continually blows us away. years have been filled to the brim with So, again… the word “grateful” would “firsts!!” And yes, recording in the not even begin to describe how I feel States was a first for me. It actually working with these two. came about through Israel Houghton AH: I’ve got some favorite songs on chatting to Pastor Chris Hodges from this album: “Victor’s Crown”, and “Your Church of the Highlands in Birmingham, Presence is Heaven”. Talk about the Alabama about us recording there. As writing of them and a couple of your Pastor Chris is a friend, and as I was favorites… already going to be speaking at their DZ: “Victor’s Crown” started one annual women’s conference, it just kind day with Kari Jobe and I just fiddling of fell into place. around with some song ideas, but we When I left Hillsong Church, I really got sidetracked and stopped writing had to lay that whole ‘live worship and just kept talking! Then I brought it recording’ down. There were no to Israel as I felt there was something guarantees that I would ever be there. We got on Skype and just kept involved in anything like that again, writing, and it actually didn’t take so I feel so very honored to be able that long to write. Israel wrote “Your to continue in this way. I guess while Presence Is Heaven”, and last year I sense an anointing on that part of my when I first heard it, it automatically life, I will lead people to the best of my became my favorite song; so I couldn’t ability. It is always such a privilege to wait to lead it. lead others in the worship of God. I see I love the hymn “My Jesus I Love Thee” it as a very sacred space for people, because my grandparents taught me me included. So I tread carefully. this song as a child, and even up to AH: You worked very closely with this day, my own 11-year-old daughter Israel Houghton on this project, and Zoe includes it as one of her all-time also Michael W. Smith. What was it fav songs of worship. Some songs are like working with them? just timeless and eternal, full of truth DZ: Mark and I are very blessed to be and wonder. I love “In Jesus Name” able to call these guys and their wives because I love the declaration that we our friends. If Michael says anything... get to lead people in that God is fighting we all listen and just say, “Yes Sir!!” for us, pushing back the darkness.. Love Seriously, he is the most humble minister it!!

AH: Revealing Jesus is the first album you recorded in the United States.

Where was it recorded, and what was of music that there is. And Israel . . .

AH: How do you usually go about

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Darlene Zschech: by Aimee Herd

continued

songwriting, what is the process for you?

musically, and stay hungry for fresh oil.

DZ: It is different all the time. I am always writing lyrics and they are everywhere in my home. Musically, I find it challenging as I am a very average musician, but I love working with others and being inspired and challenged by others’ thoughts about where my songs are headed. Apart from that, I just work hard on my craft. Some songs turn out ok, and many don’t, but I keep going…

AH: In your time at Hillsong Church I know you’ve hosted many worship conferences, teaching others how to write songs, musicianship, and to lead worship. What are a few of the most common issues that new worship leaders run into, and what advice do you give to remedy those issues?

AH: Are there a few things that are universally important when it comes to crafting a worship song for the church?

DZ: I write primarily for the church. I truly do try to hear them singing the songs, and I ask myself questions in regard to this all the time… “IS this song theologically on target? Does this song gather people, or exclude people? Is there a newness about this song, or have we heard similar songs like it before?” Etc. AH: You play keyboards, (right?) but for the most part it seems like you prefer to lead worship with just your voice…

DZ: If you heard me play piano, you would understand why I usually just sing!!

Ha!! I can actually play, but I feel inhibited by the keys when leading.

AH: When you’ve written as many worship songs as you have, how do you keep coming up with great new ones?

How do you keep it fresh like that?

DZ: Not sure really… but I do know that out of the abundance of the heart the mouth speaks. So the key is to stay fresh yourself is: be in the Word, stay inspired

DZ: I guess the biggest issue is PRIDE, and that goes for all of us. So the teaching continually has always been about the issues of the heart: your unseen life and health in the seen and the unseen. The other thing is service.

To serve one another is one of the most Christ-like qualities we can attain to.

So, serving in team, in whatever role is critical as part of the body of Christ.

AH: What are three of the most important things to keep in mind as a worship leader, and as a worship team member? And, do you have any specific advice for female worship leaders?

DZ: It’s not about YOU. It’s all about taking people by the hand metaphorically and pointing them to Jesus.

in our lives.

AH: Darlene, can you talk a little about your new devotional accompanying the Revealing Jesus album. How did it come about, and how did you go about writing it?

DZ: The devotional is a day-byday study on different facets of Jesus’ ministry. And it really just came from Scripture and my journals. I pray it’s a great blessing to all in your daily life.

AH: You’ve got a real heart to bring hope to those who desperately need it, and you’ve accomplished that in the ministries you’ve launched: HOPE Rwanda and HOPE Global. Talk about those for us.

DZ: Hope Rwanda has become HopeGlobal due to the programs being taken into Cambodia, India, and other parts of the globe, and we are very thankful for that! Working with local churches, governments, individuals, and business professionals, our aim is to help restore hope to people who have experienced atrocities and hardships on a level that most of us can’t imagine.

It is actually completely beautiful and overwhelming how God has opened As a woman, you must be careful not up doors for us within both government to get “yelly” or “bossy” when leading and church leadership forums, allowing worship. When you are leading others us to have a voice and help more in this sacred space it becomes about people than we had ever hoped. God trust, and trust is earned and not is good! demanded. For me, I ‘ve learned to AH: What does this season of life keep it simple. Be genuine, love the people, and be in love with Jesus. In the feel like for you right now, and what end, we need His presence and power position do you see the overall global Church fulfilling in these times?

DZ: Every day is like a new adventure.. new, new, new everywhere. These are amazing days for the church at large, and as the dark gets darker, the light of Christ shines brighter. The church has certainly matured over the years.

There is much more unity, and where there is unity God commands a blessing.

Personally, our eldest daughter is expecting our third grandbaby… a little girl. And we are so pumped for that. Our middle daughter is studying, and our youngest daughter is just loving life. All in all, we remain grateful, and alive with purpose and vision.

For all the latest on and products from Darlene Zschech, log onto: www.revealing-jesus.com

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PRODUCT REVIEW

By Mitch Bohannon

L.R. Baggs Lyric: Acoustic Microphone Installing the Lyric was incredibly easy! Once I removed the existing wiring and piezo under the saddle, the endpin jack fit in the guitar just as the previous one and the self-adhesive strip on the Lyric made mounting a breeze. The instructions were easy to understand regarding Let’s face it, there are many options the placement of the Lyric in when it comes to amplifying your acoustic relation to the string-pin holes guitar. Over the years, I’ve gone through that I could feel inside the guia lot of guitars with different electronics tar. There is an added attachon board and I have to say that some of ment that contains a volume my very favorite acoustics were amplified and presence control also

by L.R. Baggs electronics. So, it was an with adhesive that mounts to honor to get to test-drive the new acoustic the edge of the soundhole. microphone, the “Lyric,” from L.R. Baggs. With all in place, it was time to string up the guitar and I’m currently playing a Wickstrom plug in… acoustic made of Cocobolo back and sides with a Spruce top. The body is I plugged into my church close to a grand auditorium size, but system and was very pleased with a deeper body so it has a huge from the first strum. The guitar sound…more like a jumbo. Acoustically, came alive in a way that it the guitar sounds amazing, however, I’ve just had not done previously. I took some been struggling with getting the amplified time to balance the Presence control and sound where I want it with the installed make some EQ adjustments on the soundpiezo pickup. board. I even got my youth pastor in the What is the technology behind the new Lyric mic? This microphone is a noise canceling PZM (pressure zone microphone). For this type of application, the microphone averages the entire top of the guitar while rejecting boxing reflections inside of the box. This allows the Lyric microphone to act as if it were outside of the guitar like a studio mic, but remain fully isolated inside of the guitar for a plug and play performance.

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EQ control into my signal chain. A simple solution all-in-one was to run my signal through the L.R. Baggs Para Acoustic D.I. Bottom line: problem solved. My acoustic has natural “sparkle” now within the room to listen to the difference… WOW! band’s mix. The sound of the guitar is so This is truly the sound of a microphone responsive…it’s surprising. Keep in mind and not a pickup. Maybe you have had that I only required a phase inversion bethe same experience I have had…at a cause I was playing live with a full band live music event, I’ve been taken back by in my church environment. Every situathe clarity of the acoustic guitar and leave tion will be different. Without adding the with that, “why can’t my guitar sound like band, the guitar amplified beautifully with that?” frustration. Well, compared to the just the Lyric. pickup I removed, the clarity was at an A great benefit is that you do not have entirely new level. Even hearing some finger noise on the strings was actually to be a certified guitar repairman to install. Especially if you already have an refreshing! endpin jack in your guitar, installation is My problems started, how- simple. With a list price of $289 and a ever, when I added the band street price under $200, the Lyric could at rehearsal. My guitar was literally make your guitar sound like you too live and overrun with over- increased it’s value by $1000! tones that bordered feedback.

Honestly, it did not feedback Mitch is one of the even with those problems and pioneers in the development I believe that was due to the of the cut-capo, an alternate Lyric’s noise canceling technol- tuning device used by many ogy designed to reject feed- worship leaders today, back. Without that, I think the including Chris Tomlin and Rick Cua. He feedback would have been is a worship pastor in Sulphur, LA, a through the roof! The story regular contributor to Worship Musician ends well, though! and Christian Musician Magazine, I called Mike at L.R. Baggs and has been part of CMS since and he quickly diagnosed my 2004. Mitch and his wife, Noelle, have situation. I needed to add a been married for 20 years and have 3 phase inverter and some more awesome kids!

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RECORD REVIEWS Citizens (Mars Hill Music) Citizens 1. Sweetness of Freedom 2. In Tenderness 3. Hail the King 4. Made Alive 5. I Am Living in a Land of Death 6. Jesus!

7. I Surrender All 8. Sins of My Youth 9. Psalm 18 10. Praise to the Lord 11. Oh God There is an assumption that worship music in the church is generally more laid back, reverent, and easy going; often erring on the side of caution as to not offend both young and old alike. Citizens, one of the worship bands at Seattle based Mars Hill church, is determined to help change that paradigm with their first full length, self-titled worship album.

Let me say first off that if you are not ready for a worship experience that is both aggressive and, what most would consider “outside the box”, this probably isn’t for you or your church. Musically, Citizens is a patented type of indie rock that jumps with the electronic beat of Switchfoot, yet shines with the emotional intensity of Hillsong United.

The songs on this album are theologically solid and powerfully performed, and there is no doubt these guys are for real.

Frontman Zach Bolen’s raspy vocals add to the overall edginess of this album, and the differences in song structures and musical choices make it truly unique. Some of the standout tracks include the rabble-rousing “Hail the King”, the infectious pop anthem “Jesus”, and the flashy keyed-up “Made Alive.”

Not every track contained within is upbeat and rowdy however. If you are a fan of remade hymns, Citizens does not disappoint as there are a few updated arrangements of the classic hymns, “Praise to the Lord”, “In His Tenderness”, and “I Surrender All”. Each of these “retreads” are done with great musical thought and respect.

Most of these songs are easy enough to chord out and play, but the real challenge for average worship teams will be to get that raw, edgy sound that truly makes these tracks stand out.

*Gerod’s Personal Picks in bold.

By Gerod Bass Citizens is a risky album. The musical choices contained within buck the trend of what is currently considered “acceptable” worship music in the larger church, but I think this is exactly what Mars Hill and their worship ministry is seeking to accomplish.

Isn’t taking risks for the sake of the Gospel what we are all called to do? Well done good and faithful servants!

Worship Central Let It Be Known 1. Ready For You (Luke Hellebronth) 2. God Most High (Ben Cantelon) 3. Let It Be Known (Tim Hughes) 4. The Cross Stands (Tim Hughes) 5. Dry Bones (Nikki Fletcher) 6. Kingdom Coming (Tim Hughes) 7. Guardian (Ben Cantelon) 8. Draw Me Close (Nikki Fletcher) 9. The Constant (Al Gordon) 10. Hallelujah (Ben Cantelon) 11. Our Generation (Luke Hellebronth and Myles Dhillon) 12. Set Me Free (Myles Dhillon) 13. The Same Power (Ben Cantelon) From across the pond comes the 3rd live worship album from British school of worship, Worship Central, which has been training thousands for service within the local church since 2006 and is an offshoot of the Holy Trinity Brompton church in England. Led by long time worship leaders Tim Hughes and Al Gordon, Let It Be Known boasts 13 songs of sincere praise and worship with a decidedly English rock flavor.

Musically, the title track is one of my personal favorites as the entire song is rooted electronically with a really fun backbeat reminding me of some of the raucous, jump-up-and-down songs of Planetshakers. Tim’s lyrics here are a bit lacking in the way of originality but they are memorable, which isn’t a bad thing.

They even throw in some rap parts giving the song even more wide audience appeal.

“The Cross Stands” follows with a completely different tone and feel as we are brought back to the intimate nature of worship with strings and subtle tones.

Probably the best-written song on the Overall impression

Average church congregation could learn/participate on the first hear Can be learned/adapted by a band of average skill Lyrical creativity and integrity

Citizens (Mars Hill Music) Citizens Worship Central Let It Be Known Passion Let the Future Begin Various Artists Jesus, Firm Foundation (Hymns of Modern Worship) highest marks

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album, Tim Hughes speaks of the enduring power of the cross through tough times and the joy that we find in the death and resurrection of God. Some of the other standout tracks include “Dry Bones”, which showcases the amazing vocal talent of Nikki Fletcher; “Guardian”, which is a fun, guitardriven anthem about the faithfulness of God; and “Our Generation”, which is a call to every generation to live lives that honor Christ because of what He has done.

Although there is nothing earth shattering in the way of originality as far as musical choices, lyrical themes, or song structure, this is still a great live worship album that is filled with great songs for the church. I love that it was written, performed, and produced by students from Worship Central as well, and not in some professional recording studio in L.A. or Nashville. The idea that young people all over the world are using their various talents to honor God makes me smile. There is hope for the future for sure.

Let It Be Known boasts both heartfelt moments of surrender and joyous songs full of dancing and celebration that collide in fine fashion to create an album destined to rival Passion 2013 as the best live worship album of the year so far!

Passion Let the Future Begin 1. God’s Great Dance Floor 2. The Lord Our God 3. Jesus Only Jesus 4. Once And For All 5. Burning In My Soul 6. Revelation Song 7. Children of Light 8. Whom Shall I Fear (God of Angel Armies) 9. We Glorify Your Name 10. Here’s My Heart 11. Come to the Water 12. My Delight is in You 13. Shout 14. In Christ Alone 15. (deluxe) The Death of Death There are few Christian worship movements today that are as popular and life changing as the Passion movement.

Each year thousands of young people gather in Atlanta, Georgia for 3 days of worship, teaching, and fellowship led by Louie Giglio and a host of the best worship leaders and speakers on the planet including Chris Tomlin, Matt Redman, Kari Jobe, Fancis Chan, Kristen Stanfill, and Beth Moore to name a few. Let the Future Begin is the 20th record released

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RECORD REVIEWS from the Passion conference. Like many of its predecessors, this is a live recording of 14 tracks (15 if you get the deluxe version) including many worship favorites and a few new selections for congregational and personal worship.

Let the Future Begin is named after the anthemic lyrical shout from Tomlin’s energetic opening track “God’s Great Dance Floor”, which was released earlier this year on his Burning Lights album and kicks off the album amazingly with its high energy dance beat and celebratory flavor. The introduction of the brass in the instrumental bridge is a great treat, as Chris stirs up the crowd to dance during the song’s 7 minute duration in pure celebration of what God has done.

Kristian Stanfill has been one of my favorite up-and-coming worship artists for a few years since his chart-topping 2011 album Mountains Move. With his first song on the album being “The Lord our God”, Kristian delivers a heartfelt melody with my favorite lyric of the whole album as we hear of how Christ is the “…promise maker, promise keeper, You finish what You begin, our provision through the desert, You see it through to the end…’

No Passion conference is complete without an appearance from my favorite all time female vocalist, Christy Nockles, who leads the heartfelt ballad, “My Delight is in You”.

Here, Christy’s voice paints a gorgeous musical picture of total surrender as we get to hear one of the best songs she has done since “Waiting Here for You”. The end of this track totally surprised me as Christy spontaneously breaks into the chorus of “Refiner’s Fire”, which makes this song one of my favorites not just on this album, but of all time.

Another Tomlin Burning Lights release, “Whom Shall I Fear (God of Angel Armies)” is just as good as the original and chock full of the truth that as Christians, we need to have full reliance on God to deal with the struggles of life. The song perfectly expresses that dependence: “I’m holding on to Your promises, You are faithful...I know Who goes before me, I know Who stands behind, The God of Angel armies, is always on my side, The One Who reigns forever, He is a friend of mine.”

Some of the other tasty worship treats included in this collection include David Crowder’s haunting acoustic version of “Here’s My Heart, Lord”, “Revelation Song”, which soars with Kari Jobe’s angelic voice, and “Death to Death”, done by longtime Passion member, Charlie Hall which is strangely only available on the deluxe version.

I wouldn’t say this is the strongest Passion album, but it is solid. It is an album that is dominated by Tomlin and Stanfill, and although I like them both, it would be nice to hear more of the other Passion musicians which would have given this album a bit more depth.

I was also disappointed that one of the best

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written songs (“Death to Death”) was left off the original release, which makes me begin to wonder if Passion is losing its focus a bit. Still, every worship leader should have this album in their worship arsenal, as these songs will continue to be the bedrock of contemporary worship services all over the world.

Various Artists Jesus, Firm Foundation (Hymns of Worship) 1. Jesus Firm Foundation - Mike Donehey, Steven Curtis Chapman, Mark Hall, Mandisa 2. Turn Your Eyes Upon Jesus - Nichole Nordeman 3. All Hail the Power of Jesus Name Michael W. Smith 4. I Surrender All - Casting Crowns 5. Holy Holy Holy (God With Us) - Matt Maher 6. Be Still My Soul (In You I Rest) - Kari Jobe 7. My Jesus I Love Thee (Worthy) - Building 429 8. Jesus Paid It All - Newsboys 9. Blessed Assurance (My King is Coming) - Matthew West 10. Nothing But the Blood - Andy Cherry 11. Cornerstone - Hillsong 12. It Is Well (Oh My Soul) - Brandon Heath For centuries the hymnody of the church on Earth has been the cornerstone of our emotional connection to God. As the famous Chris Tomlin song says… “We were made to worship”, and I am sure that most of you reading this review will agree that music is the best way to connect in a special way with our creator. The hymns of the ancient church laid the foundation for what we know today as the contemporary Christian music genre, and without them our church and how we worship would be drastically different.

Jesus Firm Foundation is a gorgeous 12song collection of hymn-songs re-imagined and re-crafted with today’s sensibilities in mind. Each song is creatively and passionately offered by some of the best worship artists today including Steven Curtis Chapman, Nichole Nordeman, Michael W. Smith, Casting Crowns, Newsboys, Hillsong, and a host of others. Most of these songs hold true to the foundational melodies and words that made them great, while others have been completely overhauled to match current worship genres.

The best song on the album is the title track, which is sung by Mike Donehey (from Tenth Avenue North), Mark Hall (from Casting Crowns), Mandisa, and Steven Curtis Chapman. With lyrics taken and altered

from the hymn “How Firm A Foundation”, the lead single is a brilliant opener and sets the tone of “old” mixed with “new” that sets up the album perfectly. The new chorus is very catchy and was co-written with Jason Ingram. The best thing about this song is that they were able to tap into the old and new with the lyrics and feel of the song, but I really appreciated how they used voices from the early years of contemporary worship and mixed them with a few current artists to make a track that is truly a gem.

It is no secret that I am a huge Casting Crowns fan, with Mark Hall being one my favorite male vocalists. Mark lends his shimmering vocal talent to “I Surrender All”, which is decidedly different melodically from the original hymn, yet holds true flawlessly to the thematic idea of the words. Mark leaves us with some powerful moments of raw emotion and reflection as we declare that ‘…at Your feet I lay me down, all my scars and all my crowns, Jesus I surrender all, no more having my own way…’

Michael W. Smith needs to be congratulated for his creative makeover of “All Hail the Power of Jesus Name”, while “Cornerstone” from Hillsong is a bit more stripped down both in instrumentation and timing from its release earlier this year, but just as powerful.

Jesus Firm Foundation also boasts unique renditions of “It is Well” and “Blessed Assurance”, which are sung by Brandon Heath and Matthew West respectively, and both are written with additional choruses to create a sense of originality and depth.

These are the songs that the church was built upon, and it is important to remember our worship roots while embracing the rich theological ideas and poetic prose that these hymns present. These are the songs that will educate the young about the richness and importance of hymns while giving comfort and sensibility to our “wiser” congregation members who have sung them for years. This is an important record for the church and is one that should be taken seriously by every worship leader.

Gerod Bass is a ministry veteran who has been serving God’s people through worship and youth ministry for more than 20 years.

Since 2009, he has been living his dream serving as the minister of worship and Jr. High at Our Savior Lutheran Church in Tacoma, Wa. Gerod is a singer, guitarist and recording artist who has a passion for impacting lives for the sake of the Gospel. You can find out more about Gerod, his ministry and his music, including his newest album release at his website, gerodbass.com.

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The Difference Between Balaced & Unbalanced Wiring

Balanced Wiring

Low-impedance mics, as well as most modern outboard equipment and mixers, use balanced connections. While the length limit of unbalanced cables is about 20 feet, balanced low-impedance For the purposes of this article, we’ll cover is identical to the signal carried by the hot cables can be as long as 1,000 feet, this topic using simple references and, lead, although reversed in polarity. The or so, without the addition of noise or wherever possible, non-technical language. cold lead is part of the balanced wiring electrostatic interference and without significant degradation of the audio There are plenty of books about electronic scheme. signal. circuit design and books that approach the • Braided shield: Cables for audio world from a technical perspective; instruments, mics, and outboard gear— A cable for a balanced lo Z mic uses however, this article is written to help you pretty much anything other than speaker three conductors, unlike the unbalanced as an operator. With that in mind, I want to cable—have one or two wires carrying system that just uses the hot lead and the make sure you understand some of the most the desired signal. Surrounding the lead(s) braided shield. Of these three conductors, essential basics as they pertain to helping are very thin strands of wire braided into two are used to carry the signal, and you be a better sound operator. Some of a tube so that electrostatic noises and the other is connected to ground. Twothe differences between balanced and interference can be diffused, absorbed, conductor shielded cables are also very unbalanced wiring schemes are simple, and rejected. This braided wire tube is common. Whether two or three leads and some are interestingly complex. As a called the shield. are present, they are all twisted together point of reference, remember this: Almost throughout the length of the cable so that all guitars are unbalanced, and almost all Unbalanced Guitar Cables they are exposed to the same electrostatic microphones are balanced. Guitar cables— Normal guitar and keyboard cables, noises and RF interference. using an unbalanced wiring scheme— also called line cables, contain one hot The term “balanced” is derived from the take on an unacceptable amount of noise lead to carry the instrument signal, with fact that two leads carry the signal and when they exceed 20 or 30 feet in length. a braided wire shield surrounding this that they are perfectly balanced, sharing Microphone cables—using a balanced hot lead. The purpose of the shield is to the exact same impedance. They receive wiring scheme—can be up to 1000 feet diffuse, absorb, and reject electrostatic the same noise and interferences, though long (or so) with no real addition of noise noises and RF interference. one is hot and the other is reversed in and an increase in signal strength. Let’s look This system works pretty well within its polarity (cold) relative to the hot lead. The at these two types of wiring. limitations. The braided shield does a hot lead is typically connected to pin 2 Terminology pretty good job at keeping radio signals on the XLR connector and the cold lead, • Lead (pronounced leed): another term and other interferences from reaching the which, again, carries the identical signal hot lead—as long as the cable is shorter as the hot lead but reversed in polarity, for wire. than about 20 feet. Once the cable is connects to pin 3. As a point of interest, • Hot lead: In a cable, the hot lead, longer than 20 feet, there’s so much though not crucial to our understanding surrounded by a layer of insulation, is the interference bombarding the shield that of the balanced wiring concept, some wire carrying the desired sound or signal. the hot lead starts to carry the interference European standards and some balanced From a guitar, the hot lead carries the guitar along with the audio signal. The long line-level connections designate pin 3 as signal from the magnetic pickup to the input cable acts as a crude antenna and picks hot and pin 2 cold. of the amplifier. up plenty of transmissions from multiple At the source, the signal is split and sent • Cold lead: In a cable, the cold lead, transmitters. This fact is true even when down the hot and cold leads—the polarity surrounded by a layer of insulation, is the we study balanced cables; the main of the cold lead is reversed relative to wire carrying the desired sound or signal. It difference is that the balanced wiring the hot lead. The hot lead is indicated by the plus sign (+) and the cold lead is indicated by the minus sign (–).

Balanced Wiring Theory Pins 2 and 3 carry the identical signal; however, the polarity of pin 3 is reversed in relation to pin 2. The two wires are twisted throughout the length of the cable so they receive identical RF inference and noise. A differential amplifier at the mixer measures the difference between the two leads. Since the noise has equally influenced the twisted leads, it is equal in both and is ignored by the differential amplifier. And, since the signal is opposing in polarity between the two leads (as different as it can possibly be), it is recombined and increased in amplitude.

Pin 1: Ground Pin 3: Negative polarity (–) Pin 2: Positive polarity (+)

Pin 2: Positive polarity (+) Pin 3: Negative polarity (–) Pin 1: Ground

Positive polarity (+) Negative polarity (–)

At the input stage (the end of the cable opposite the source), the hot and cold leads are recombined using a differential amplifier, which measures the difference in voltage between the leads. All noise and interference should be identical in the hot and cold leads and, since the polarity of the intended audio signal was reversed at the onset, it’s the source audio that is different between the leads. The differential amplifier sees only the original audio signal as it amplifies the difference between the leads so the source audio is recombined and its amplitude is doubled.

Because the electrostatic noises and RF interference have been saturating the Continued on page 48

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MINISTRY + ARTISTRY = PROFITABILITY? CREATING YOUR MAP™

By Scott A. Shuford

5 Tips for Successful PR Editors’ inboxes are overflowing with pitches, press releases, and story ideas from publicists, writers, and other industry enthusiasts. Your first line has to make them keep reading or you will lose your chance at any coverage, period. Grab PR isn’t a replacement for traditional their attention with a pointed question, a advertising. In fact, it should work in surprising statistic, an audacious fact or a humorous anecdote. Get to your point tandem with an advertising campaign to fast. Media gatekeepers don’t have time ensure the proper audiences are reached to read every word that passes through at the right times. their inbox, so state your business in a Traditional advertising provides creative way, and give them a reason to guaranteed exposure with the message of hit “reply.” your choice at the specific time you slot.

2. Find the unique angle.

PR provides you with editorial information A new product release is no longer passed from media gatekeepers directly enough of a story angle to stand out on to their audiences via radio, television, its own. In other words, “Now Available” publications, and internet sites.

PR is not your best tag line. While a person’s happens on their schedule and with their previous body of work and impressive interpretation of your message. resumé obviously add to the credibility Of course, that’s why quality publicists of a new announcement, it’s important have such value. Their relationships to unearth the things that make this new maximize your chances for coverage, initiative, program, event, cause, book, and for coverage that is more on target album, TV show and so on DIFFERENT with your message. from all the others out there. There’s Publicists can write the most creative nothing new under the sun, so what is it pitch and represent it to the best outlets, about your product or service that is truly but ultimately it is up to the media innovative? gatekeepers as to whether or not they 3. Tell a bigger story. pursue coverage. That’s why it’s important No matter what you are selling, story to do everything you can to make your PR wins every time. That’s not only true in efforts as streamlined and targeted for key public relations, that’s true in every form media outlets as possible. of Christian advertising and marketing.

Here are five key tips to remember as Whether it’s a product or service, make you prepare your next PR campaign to sure you are telling a larger story. Is there highlight your latest album, your tour a charitable cause that your net proceeds dates, your church’s music production, will support? What’s the heart behind your and more: service? What larger, more significant 1. Hook editors with the first line of narrative is this piece of art telling? How will your product or service contribute to your pitch. society on a local or global level? Media A public relations campaign can be time-consuming, but when done well, it can be one of the most effective keys to the success of your worship or artist ministry, or any faith-based or faith-friendly product, cause, service or brand.

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outlets and their info-consumers want to be a part of a larger story, so make sure you’re telling one.

4. Research, Research, Research.

One of the biggest mistakes publicists often make is sending out blind pitches.

Think quality over quantity. It’s important to thoroughly familiarize yourself with an outlet before pitching a story idea. Find out the name of the correct editor to submit pitches to, and address them by name to make it personal. Suggest a specific section of the magazine, newspaper or radio or TV show where your story would be a natural fit. Don’t waste your time pitching to editors whose audiences don’t match your product offerings. Your pitches will stand out to editors if they are personalized and clearly tailored to the publication, proving you’ve already taken time to educate yourself on the media outlet.

5. Make relationships a priority.

This tip may sound tried and true, but the reality is it’s probably the most important thing you can do when running a PR campaign. Get to know the editors you’re pitching to. If they’re local, take them out for lunch or coffee. Ask them questions about their publication and the types of stories they’re looking for. Beyond that, get to know their personality and their pet peeves. Find out their preference for pitching. Do they answer email faster or prefer a follow-up by phone? Discover how you can work together to achieve an end result that’s mutually beneficial.

Check out additional tips for an effective PR campaign from FrontGate Media’s Senior Publicist, Lori Heiselman in our blog at FrontGateMedia.com/blog.

See Scott as part of the Creator Leadership Network teaching team at this year’s Christian Musician Summits. He has led classes for us at NAMM as well as teaching on marketing to the Christian Leadership Alliance. Featured in Adweek, Scott is the President of FrontGate Media, the #1 culture-engaged media group reaching the Christian audience (www.FrontGateMedia. com) and the largest in reach to Church musicians.

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THE WORSHIP COMMUNITY

By Doug Doppler

First Hellos and Last Goodbyes Even under the best of circumstances, leaving a team or congregation is most often accompanied by a sense of loss.

How worship teams embrace musicians as they come and go speaks volumes about the culture of both the team and the congregation. The goal of this column is to spark conversations regarding how to better realize these opportunities to improve worship team culture around welcoming new prospects, as well as blessing members who are moving on.

platform to field. Music and gear talk offers a great bridge into deeper conversations like how a newcomer can get planted into a small group. Taking an active interest in people’s spiritual development is a great way to demonstrate that your team is about more than the time you spend worshipping together.

Vision Casting

The more a team is on the same page about why they are there, what the team values are, and how they are serving FIRST HELLOS… the congregation, the easier it is for a Make Time to Take Time newcomer to catch the vision. Developing Every team has it’s own rhythm before, a culture where each team member can during, and after service. You might clearly articulate your Church’s vision want to consider creating a time during can be equally helpful in getting (and which your team is always prepared to keeping) new members on track once welcome a new prospect. If they come they’ve actually joined the team. Can up during a busy time, being able to give everyone on your team articulate your them a specific time to come back shows Church’s vision, and if not what are some a level of consideration that is a great first steps your team could take to move in first step in welcoming someone into the that direction? fold. First hellos are a great opportunity Audition Process to show that you value people enough to Since the audition process and team ensure that even their first interaction with requirements have a tendency to shift over your team is a purposeful one. time (especially in a multi-site model), it’s a Spirit of Inclusion

good idea for teams to get together at least I’ll call this one the Jesus test. Would you once a year to talk about what may have greet prospects differently if Jesus were changed and why. If getting connected watching from the side of the platform, in a small group is a requirement, letting and if so, what might you want to people know right away speaks of your change? You never get a second chance interest in their spiritual development, to say a first hello, so why not make each not just their musical capacity. Mature person feel truly welcomed—it’s a great believers will appreciate this, and it can way to demonstrate your value for people also open the door into a discipleship for more than their potential contribution. opportunity for those who don’t.

LAST GOODBYES… Ministry not music Raising the Bar While musician talk is tremendously valuable in building a point of connection, While last goodbyes can be emotionally as musicians we can sometimes miss the and even politically tricky, they frequently very ministry moments we were put on the reveal the depth of connection that is

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actually holding a team together—or keeping them apart. Most companies will at least gather around the water cooler and say a round of goodbyes before a person rides off into the sunset. Why is it that Churches seem to fall particularly short in this area and what might we do to raise the bar?

Sign a Card Regardless of why someone leaves, giving (or sending) a card signed by the entire team is a small way to show that you value the investment people are making with their time, gifts, and resources. In situations where there have been differences it also offers the opportunity to show that your team holds forgiveness as a key cultural value.

Pick up the Phone While a card is a great start, taking a few moments to pick up the phone and call someone is a great way of communicating that you truly value them.

As hard as calls like this can be to make, it’s much harder to leave a Church and hear from next to no one. We are called to do better.

Team Prayer When a member leaves not everyone can or should know why. Holding that team member up in prayer is a great way for a team to come together and demonstrate their collective heart to see good things come to any member, be they present or past. Leaving a worship team you know will be praying for you provides a spiritual covering that can do much to counteract the range of feelings most people feel when they step down or change congregations.

Doug Doppler is a passionate presenter at worship conferences and also loves to coach worship musicians and teams, especially in the area of the multi-site Church. He is also the author of the soonto-be released title “The Worship Guitar Book”, which will be published by Hal Leonard.

GUITAR GRAB BAG

By Doug Doppler

Thinking Ahead As I was working with one of my Skype students this past week I realized how much the way we think about the instrument impacts how we play. The focus of this month’s column will be on thinking about what you are (or possibly should be) thinking!

In working with worship guitarists over the years I’ve generally come to find that they fit in three main categories: “dialedin” players who play and think from a place of confidence, players who love to worship yet feel like they do not have total command over their playing and gear, and younger players whose youthful exuberance carries them beyond where their knowledge drops off. This article will address some of the psychology of the journey of how one gets from point C or B to point A. I recall being fifteen and walking in to take my first lesson with Joe Satriani. I had heard about this great local teacher and I figured I’d give him a shot. As I sat down and started to play it never occurred to me that I was sitting across from one of the greatest electric guitar players of our time. The thought never even entered my mind, which is precisely the point I’d like to make. Most young players have never had the taste of defeat in other areas of their lives, so they approach playing from a place of “can do”. This is tremendously powerful in explaining how a fired up young player becomes a middle-aged worship musician who feels like the charts, playing, or gear is just a

bit beyond them. Whether your guitar ended up sitting under the bed for a few years, (or decades), or it’s just simply that life’s up and downs can sometimes get us down, as we get older our mind can get in the way if we let it. As believers how we approach this and what we choose to do about it is key. The Word reminds us that we have the spiritual right and authority to take every thought captive.

It’s not saying we won’t think them, it’s just saying we have to the power through the Holy Spirit to put them in their proper place. As much as I’m tempted to spend the rest of this article talking about how to do that, I’ll choose to focus on how to think “better thoughts” that will in turn guide you towards to the goal of thinking about the things that “dialed-in” players are thinking.

Dialed-in musicians tend to believe a song is a musical journey, one that is worth mapping to ensure they get the most out of the experience. This belief fuels why many players chart a song before they start to learn the parts, affording them the musical luxury of thinking about how the parts relate to one another. I like to jot a simple song map across the chart like I V1 PC CH(1x) V2 PC CH(2x) BR CH(2x) T O before I learn a song, as it saves me time by having me think about form before I learn the parts. I use the abbreviations I, V, PC, CH, T and O for Intro, Verse, Prechorus, Tag, and Outro respectively so

Wear it Well...

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I don’t run out of room across the page on longer charts. I also use abbreviations like CH1 and CH2 if there is a musical difference (like a changed turnaround chord) between different versions of the same section. If you are not already documenting the form across the top of your charts, I encourage you to take a moment and reflect on the ways it could help you as learn, practice, and play songs.

Our mistakes are actually brilliant opportunities to ditch bad habits, including a “here comes the hard part” mentality.

While we all encounter challenging parts or transitions, skilled players know to loop a transition and/or section that is challenging, starting off slowly with a metronome and working it up to speed.

Working past the actual tempo can make a tough part feel easy, and is one of the big pluses of working with a metronome.

It’s important to remind yourself that the way skillful players developed their gift was through years of practice and playing with other musicians. At the heart of this experience is how they relate to tempo. Practicing parts and songs with a metronome or drum machine is a great way to develop your sense of time and your ability to play confidently from that headspace. When you’ve gotten used to playing your parts with a metronome, playing with the click (if your team uses one) will parallel what you are already doing at home. Developing a conscious process of how to use your practice time most efficiently is key to fast tracking your improvement and confidence as a player.

In turn, when you take that experience into Sunday, you will truly be thinking the things that dialed-in players are thinking.

Quite simply, they know what they need to do to prepare, how they go about doing it, and decide to invest the time to do it. Think about itJ Doug Doppler is passionate about God, worship, and worship musicians. In addition to his work coaching individuals and teams, Doug is also the author of “The Worship Guitar Book” which will be available in May 2013 via Hal Leonard.

THE BAND

By Tom Lane

Songs and Arrangements Connecting with Your People!

Songs are amazing vehicles that deliver heart, passion, truth, doctrine, and so on. My brain is full of them and there’s a running soundtrack for my life recallable at any time. People connect with good songs and like what they like, often without any explanation. Though not all have the same tastes, the power of songs affects us much the same: deep down, permeating the soul, and manipulating our emotions. So needless to say, how we approach and play them is worth consideration.

Arrangements give life to songs, sometimes elevating them from their original form, but not always as it can also work just the opposite. Once songs are completed and chosen for whatever purpose, the arrangement is usually the next step in presenting it. In the same way that I can say something and it be taken one way, you could say the exact same thing and it be taken completely differently; arrangements influence perception and emotion.

It’s been said of worship songs that they are tools to help us communicate and engage with God. They can help or hinder, encourage or discourage, connect or NOT. For sure there are songs that seem to have a life and sweep through the church at large. The Church has always had favorites, and the cycle normally goes; we use them continuously, wear them slap out, shelve them, and the really great ones come back around and live on in history.

There is some tension in the Church regarding worship and it’s nothing new. It’s the ongoing reality that as one generation ages, another is taking it’s place. God’s desire is that they be joined and connected, not divided. Transition is always awkward, but doesn’t have to be a fight. Both generations deserve the freedom to be who they are, but also the honor and support of the other. What kills unified worship in The Church is the spirit of Criticism! Especially for what we don’t like. But God doesn’t ask us to worship Him only if everything is as we like it.

the song and it’s sections more than the arrangement. The main reason being it leaves me free to be more sensitive to the people I’m leading. If the band is listening to me and to each other, then we all move together dynamically. So the arrangement we played in the 9am service could be totally different in the 11am service and we didn’t have to rehearse it. But there are also times I’ll have them learn an arrangement and stick to it for any number of reasons. There is a time and place for both, and the bigger picture is that I want the song to serve the need and As mature believers and worshippers of the moment more than I want the band to God we should be able to get beyond play it exactly like the record. the style and delivery of a song, and If we’re sensitive and caring of those engage with Him in worship. If we can’t, we minister to and lead, we’ll not simply then the issue is not ultimately the song inflict our own preferences on them with or the leader; in essence we are giving no regard to where they come from, who the power to someone else to dictate they are, and what they relate to. Not our response to Him. Sadly there are everyone loves the four on the floor kick many that miss the point and place such drum at 120-130 BPM at 9am on Sunday expectations on worship leadership to morning, or the tribal toms over ethereal ‘get them there.’ Songs and leaders pads and eighth note guitar lines—for can help, but do not negate personal hours on end. Likewise if there are young responsibility and will! The attitude and people in your midst, they likely don’t posture of our own hearts is solely up to relate as much to hymns and older songs, each of us. or pipe organs. The goal is to find what That said, we can help encourage is the most helpful and authentic where unity by how we lead and what we we are. sing. Songs are good connectors, and arrangements can actually help us build bridges among the generations represented in our churches. As a worship leader I communicate with my teams that my preference is for them to know

producer, songwriter, musician :: MATT KEES

It’s awesome to see younger and older leaders serving the other with grace and humility, even when it’s not their vibe or comfort zone. There’s much to be said for honoring the context and culture of others, for in doing so we bestow honor on them!

“How good and pleasant it is when God’s people live together in unity!” Ps. 133:1

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Nashville, TN is home for Tom Lane though he is involved in ministry and music around the world. As a singer, songwriter and guitar player, Tom has been teamed with many worship leaders and artists. He continues to record his own work, lead worship, and writes regularly for various worship publications worldwide.

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CAMERA

By Craig Kelly

Do You Have What It Takes To Be A Free-Lancer?

Most operators that are free-lance started out with a staff position and migrated to the independent world after being laid off, downsized, or abused to the point of no return. I fell into the free-lance world from the beginning because I didn’t know any better. At the time, it seemed pretty cool to have a different job each time I worked; and the diversity of subject matter – from major league baseball, to shooting from the wing of a Boeing 747 (in the factory of course), to riding on top of a fire truck as it screamed through downtown streets was fascinating. But, if you’re not careful, you might lose the glamor and fun of independent life. If you were hardworking, easy to work with, had the stamina and ability to work under pressure and outside the safety of a TV station, it was fairly easy to survive – quite honestly there weren’t that many of us around. But, we were rewarded with most of the good gigs because the station crews couldn’t always get the time off. At the other end of the equation was the fear of losing a connection if you passed on a shoot. I’ve always maintained that if you don’t allow yourself the luxury of time off or personal/ family experience though, it was not worth it. There will always be the next big event or show and there will most likely be another opportunity to make up for the one that got away. In the end, it doesn’t matter if you’ve given up everything and didn’t reward you and your family with the benefits of independent contractor status…….sometimes. Here are my first seventeen bits of advice for free-lancing.

The other seventeen hundred will have to come later;

· Be forward thinking

David B • Negatives: As a Freelancer you only have YOU to take care of · Be fully engaged everything and only YOU can make it · Be appropriate at all times happen. Nobody owes you anything · If you agree to job, then you agree and nobody’s going to give you anything. to be all in, all the time You are a Contractor and small business · Prepare for the slow months – and owner. Your iPhone might not ring. there will be slow months Positives: Set your own pace, hours, schedule, turn down or take on jobs as · Love what you do you please. Your iPhone just might ring · The show must go on with a great opportunity. · Guard your work reputation as if it was the most important thing in your Be prepared to start at the bottom, be kind and caring to everyone and work career from your heart. · Love what you do Lesson learned: Upgrade your graphics · Set goals card. · Don’t whine Rob R • I have to agree with all of There is a ton of more great advice out the above. I am in my 3rd year as a there by many veterans in the industry. freelancer in Tasmania and there would I posed this question in the discussion be about 15 camera guys trying to make postings in the TV Camera Operators a living shooting for local TV stations and group in Linked IN; looking for input for doing corporate jobs for anyone wanting new operators considering a Free-lance a video made. I have lots of small clients career. What are the benefits/negatives? and I would work for 2 or 3 each day.

Any good advice for those considering And it could be an hour or a full day this road less travelled? Any lesson depending on the shoot. All the work I learned by mistake? Here just a couple of have is by word of mouth. After working the answers I received; for TV stations for over 30 years I wish I Steve C • I have been full time freelance had gone freelance ten years ago. for 30 years, and I’ve found the trickiest For more great advice for free-lancers, part is maximizing billable hours beyond check out the TV Camera Operators maybe 30-50%. No matter how good or group on LinkedIn. popular someone is, that barrier seems hard to break. In the busy months there is the quandary of taking longer jobs, like a week or more versus a bunch of Craig Kelly is a veteran Free1 and 2 day “pops”. Either way you lance, TV camera operator/DP will inevitably disappoint someone who for over 25 years. He writes really wanted you, or end up being these articles to be included · Work hard double-booked and have to juggle things in his blog found at www. · Play fair around to make it work--possibly even craigjkelly.com. Often the subject matter comes from the 3,000 + global membership · Be pleasant – even on longer than with a fill-in replacement. Then there are in the LinkedIn group he started for new cancellations, weather days, and dark camera operators and volunteer operators expected days · Be the best operator you can be – days in the middle of an engagement; called TV Camera Operators. Kelly is also the and as mentioned, feast and famine of International/North America Representative to without fail market conditions. Being diversified is the Guild of Television Cameraman as well · Come prepared for no meal breaks good, but clients prefer to pigeon-hole as advisory board member for 2 colleges and 2 high schools in the greater Seattle area. · Bill yourself as a real business / folks and hire “that great audio guy” or In addition, he writes for Worship Musician Pay your taxes whatever your specialty.

Magazine and conducts workshops for new and volunteer camera operators. Kelly welcomes comments here or via email at zoomit.cam@craigjkelly.com

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PRODUCT REVIEW

By Mitch Bohannon

Roots Box - Stomb Box & Kyser Electric 6-String Capo cajon, and the Roots Box. What an capo can grip too tightly and throw off incredible sounding drum kit! The box the intonation (tuning) of the guitar. In fact, most of you guitar players reading served as a perfect kick drum! this magazine are playing acoustics that The basic Roots Box sells for about really don’t require the full tension of a $55.00 depending on the wood and standard capo. Many of the acoustics stain you choose. Anthony will also I see on worship platforms across the custom build a pedal board for you with country have very low action and narrow the Roots Box built directly into the board! necks. This electric 6-string capo would When you email Anthony to order your get the job done for most of those guitars. first Roots Box, tell him that “Mitch” sent If you hold both the standard Kyser you. capo and the Kyser Electric 6-string capo (Contact for Anthony: acofield@ in your hands, you’ll quickly notice the acousticcleaning.com) differences. The electric version weighs 1.3 oz. compared to 1.5 oz. in the standard capo. It is narrower and has a lighter tension spring. The easiest way to spot if you are using an acoustic or an electric Kyser capo is: the acoustic capo has the trademark Kyser “hook” on the top and the I met Anthony Cofield and his wife, electric capo has a solid Shelena at CMS in Nashville last circle.

October. We stayed in touch, and when For years, I have heard I learned that he was building his own people make comparisons version of a stomp box, I knew I had to between the Kyser Quick try one out. In Nashville, Brandon Bee Change and other capos (Stomptown Revival) was tearing it up with adjustable tension. It is with a similar piece of gear. Some of you an often unknown fact about may wonder if you would have a use for all Kyser Quick Change such a contraption… the answer is YES, The capo: an amazing little tool that capos...they actually do have a tension with a resounding “absolutely”! enables the guitar player to raise the adjustment built in. The rubber “boot” on Anthony sent me two units. One made pitch or change the chord voicing. It is the back arm is reversible. If you look from Poplar and one from Oak. Honestly, often an overlooked, abused, or even closely at it, this boot has one side that we’ve gotten very similar results from lost piece of gear. Thing is, just as not all is thicker than the other. If the capo is both. The box has a ¼” jack on one guitars are the same... not all capos are a bit tight, simply pull off the boot and end… I run that with an instrument cable the same either. place the thinner side toward the guitar. through a direct box and directly to the Ten years ago I jumped into the capo- As a worship leader, the convenience board. We boosted the low end on of temporarily storing my capos on my the EQ and cut the highs out… leaving world-of-wonder when I developed electric and acoustic headstocks seems enough mid’s to keep the box “snappy” the Short Cut Capo for Kyser Musical Products. If you are not familiar with that priceless. List price on the Kyser Quick and it was good to go! one, please come to my class at CMS or Change Electric 6-string is $24.95.

I’ve used the Roots Box as part of my rig visit my site (bos-capos.com)!! But it has In Him, for the past four weeks and have found often amazed me to run into players who many opportunities to bring it into a song. have been playing guitar for many years Mitch Bohannon It’s a great double for the kick drum on and are unaware that the Kyser electric mitch@bos-capos.com a build, and it adds nicely with just my capo even exists! www.bos-capos.com acoustic during a quieter song. But here’s In very basic terms, electric guitars www.p33music.com the “kicker”; during Spring Break, our ( o )==# church went to camp at Lake Forest Ranch often have narrower necks and definitely in Mississippi. We decided to create a have lighter gauge strings. To capo an travel drum kit out of a snare, high-hat, electric guitar, it does not require near as much tension. So, a standard acoustic

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Editor’s Corner - Cont. from page 7

been mulling over in my thoughts. If we start replacing the old with the young just for the sake of appearing “hipper” and we are not passing down the experience and virtues of those who have gone before us, well… then we will be missing something crucial in the exchange.

“It is good to grasp the one and not let go of the other. Whoever fears God will avoid all extremes.” Ecclesiastes 7:18 Now this publication is about practical training for the entire worship team and we want to encourage and equip everyone involved, from the youngest to the oldest; but church leaders need to keep in mind that in the modern worship movement just because someone is young and can fit in skinny jeans… that doesn’t make the worship any more authentic.

Let’s start the conversation here and see where this takes us.

Anyone?

In His Grip!

hot and cold leads equally throughout the length of the cable, they are ignored by the differential amplifier as it recombines the hot and cold leads. Noises and interference are, therefore, eliminated.

Any three-point connector can be used on cables that connect balanced devices.

As long as there’s a place for the hot and cold leads and a ground to connect, the system will work. XLR connectors are the most common, but a plug such as a 1/4-inch tipring-sleeve configuration is also common. In large studios, a smaller version of the 1/4inch TRS connector—the Tiny Telephone (TT) connector—is commonly used for balanced patch bay connections.

In summary, the result of balanced wiring is total cancellation of noise and interference, plus a doubling in amplitude compared to the signal in an unbalanced system.

This article is excerpted from The Ultimate Church Sound Operator’s Handbook: Second Edition.

For more from Bill Gibson (www.billgibsonmusic.com) about live sound and recording, check out: • The Ultimate Church Sound Operator’s Handbook: Second Edition • The Hal Leonard Recording Method (six books in the series) • Q on Producing by Quincy Jones with Bill Gibson

Bruce & Judy

AL OF GUITAR PED

FOH - Continued from page 34

THE MONTH MORNING GLORY OVERDRIVE

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Worship Arts Technology Summit

Completely redesigned with all-new courses, the Worship Arts Technology Summit (WATS) is a comprehensive two-day event featuring hands-on training in audio, media, lighting, musicianship and vocals. Offering cost-effective world-class instruction from several of the largest churches and worship artists in the country, WATS takes you down a guided path with a consolidated curriculum to help you take your ministry to the next level. Don’t miss this one of a kind event!

Upcoming Locations and Dates: San Jose, California – 7/26 – 7/27 Fort Smith, Arkansas – 8/16 – 8/17 Ridgecrest, North Carolina – 9/20 – 9/21 For more information, and to register, visit www.gotowats.com.

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©2013 Yamaha Commercial Audio Systems, Inc.

PERCUSSION

By Mark Shelton

Cajon & Djembe: Paradiddles, Permutations & Patterns Although their musical roots are connected to different continents, the cajon and djembe have some compelling similarities. Both the South American “box” and the West African “super drum” are capable of significant volume and possess booming bass tones along with keen-edged highs. You get all that power and all those frequencies packed into instruments that are quite portable and do not require much space on stage. There are enough commonalities between the two percussive brothers that some information on “groove creation” can be applicable to both cajon and djembe.

Paradiddles and Permutations Merriam-Webster’s Collegiate Dictionary (Tenth Edition) gives one definition of permutation as “an ordered arrangement of a set of objects.” Many of the snare drum rudiments are based on permutations of right and left hand movements. One of the basic FIG. 1:

FIG. 2:

FIG. 3:

FIG. 4:

FIG. 5:

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hand permutations is the paradiddle (RLRR entire worship team consists of a single or LRLL). percussionist along with a guy playing Playing permutations with your hands in guitar and singing. a “fixed position” to the playing surface can serve as a catalyst to create grooves on the djembe and cajon. By fixed position, I mean that one hand remains near and plays only on the bass tone area while the other hand plays only on the high pitch area.

Transferring a drum set part to cajon/ djembe was discussed briefly in the previous issue. An “alt rock” groove was shown notated for drum set along with an adaptation for cajon or djembe. Seeing the two versions together can give insight into how to condense kick, snare, high Play the two examples (FIGURE 1 & 2) hat, and ride down to a one-instrument using the permutations beneath the score rendering. with your hands in a fixed position of Continuing in that vein, I am sharing a right/bass tone and left/high pitch. The few basic patterns that might be useful for first one is the ubiquitous paradiddle and both performance and analysis. Observe the other is its inverted cousin. how it is not necessary (or practical) to Give a slight accent on the downbeats include all the notes from the drum set and you might start to feel these groove when making the conversion to cajon or djembe. permutations morph into a groove--or perhaps into something that could be Sixteenth Rock used as a fill.

The stream of sixteenths drives and Experiment with the permutations below defines this fundamental pattern. Tap the and then figure out some on your own. high pitches lightly except for the accents, which imply the snare drum backbeat.

RLLR RLLR RLLR RLLR (FIGURE 3) RLRL RLLR RLRL RLLR Cadence Groove LRLR RLRR LRLR RLRR Several popular worship songs have Keep in mind that you can apply made use of a marching/cadence this method to other rhythms and time pattern. (FIGURE 4) signatures.

Two Beat (Try paradiddles with a measure of The time-honored two beat is heard in 12/8.) many settings including Broadway show A great resource for ALL percussionists tunes, folk, patriotic, pop, and gospel. In is Stick Control by George L. Stone. The the cajon/djembe version, I have added first five pages of notation alone contain some notes not found in the drum set part. close to a hundred permutations. Playing Play the second and fourth eighth notes the opening section of this famous book in each grouping as ghost notes to give (on cajon or djembe) will give you many the groove a bit more fullness. (FIGURE 5) groove ideas--while improving your basic Play around with these permutations and drumming technique. patterns. Improvise on them and create Patterns variations. Build up your stockpile of Since both instruments grooves so that when the worship leader are capable of producing requests some cajon or djembe--you’re a broad spectrum of ready to deliver. frequencies and tones, it is possible to reorchestrate drum set patterns for both djembe Mark Shelton’s experience contemporary worship and cajon. These “drum in percussion is highlighted in set-emulative” versions the Gateway Create DVD come in handy when series, Worship Team Director the instrumental texture distributed by Integrity Music. His playing is somewhat sparse and can be heard on the 2010 CD release there is no drum set being from Gateway Worship, God Be Praised played. The cajon and and the 2011 recording, Great Great djembe can shine in those God. An active blogger, Mark writes regularly at Percussion For Worship (www. moments where the song percussionforworship.blogspot.com). breaks down to only a ©2013 Mark Shelton Productions Excerpts from few players or when the Percussion For Worship by Mark Shelton

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WORSHIP TEAM TRAINING

By Branon Dempsey

I’m With The Band My guitar teacher on our staff has an old t-shirt, which you may have seen elsewhere that reads: “No Job, No Money, No Car, But I’m In A Band.”

There’s something about the appeal and camaraderie of being in the band. At the same time, there’s a good amount of work involved too that goes beyond just being in the band, especially in the church. For music ministries, some of the must-haves are recruiting, training, and on-going development. When it comes to new members and training, I have four easy ways to ensure growth before handing them over to the stage.

1. Relationships: Let’s define the word band. We get various descriptions from our trusty Webster’s New World Dictionary; here are a few: pack, crew, team, society, circle, fellowship, partnership, alliance; informal bunch. In everyway, the common thread is people.

They are your number one value of the band - not the talent. Anybody can play and sing, but the most effective worship bands are those that have a circle with each other. I personally know worship leaders that see their team as players or numbers. It’s far too easy to get caught up in the week-to-week duties. Once we do, we may forget the one important component: relationships. When you look at the ministry of Jesus, He always made time for his disciples (Matt. 13:36 and Mark 6:45). Relationships are your number one investment to make a music ministry great. Learning about your team member’s walk, spirit, and day-today events will create a bond and unity between you and your team. Thus, we fulfill the definition and meaning of the word ‘band’.

2. Recruiting: When adding to or starting a band, skill is the secondary importance behind the heart of the team member. But when does skill override

ministry? In other words, do we place aptitude above the spirit of a person?

I’m all for excellence, however, I’ve never seen Jesus place favoritism over a person’s gift. Neither have I’ve seen Him place an incapable person in a position of leadership. Before handing that mic to the new person, invite them to either an audition and/or to sit in on a rehearsal.

I’ve done this hundreds of times. Usually on the first or second rehearsal, you can get a better feel of their skill level. Plus, it’s safer to try this approach in a mid-week session, rather than on a Sunday service as you hold your breath. Another way of expanding your team to new people is to throw a party. Try either an after service jam or after service food-fellowship. You can’t go wrong with rock and roll + food!

You can put out announcements and volunteer wanted posters all day long, but in the end, all it takes is someone to personally make an invitation.

3. Talent and Skill: OnGoing Development: Talent is something you are born with; skill is something you develop. This is the heartbeat of the Christian Musician Summit and their magazines :) It’s also our pulse here at Worship Team Training. Most know that Psalms 33:3 says, “Sing to him a new song; play skillfully, and shout for joy.” However, you can’t shout joyfully if you don’t play skillfully! This is what I call, going back to the wood shed. It’s about practice. Keeping your head down and doing the hard work is not always likeable, but the pay-off is huge. In the bigger picture, if God gave the talent, then it’s our responsibility to tend and nurture the skill. I love this verse from Titus 3:1, Paul is exhorting the point of civil brotherhood, but I like to apply it to daily living, “to be ready to do whatever is good.” And that’s the point, being ready.

When we adhere to good teaching and instruction, the Lord makes us wise. In

doing so, we pass this on to others by being a positive role model. Plus, we begin to serve one another musically as a humble wait staff. At the same time, when we practice and rehearse well, we are more focused to worship in a service and be less concerned about the anticipations and mistakes.

4. Fun-attitude: Besides having bad sound, having a bad attitude is simply debilitating to a worship service.

Again, Ps 33:3, “shout joyfully!” The reason why you and your team are in the band is because making music and worshipping is fun. Keep it at the positive level and check pride at the door. Your band of brothers and sisters are here to cheer you on. Together, we make a win, not for ourselves, but to those we lead in worship. When they see your fun-attitude, its infectious to the worship environment.

Make the most of your people, team, and worship for fun!

Worship Team Training - Branon Dempsey Branon Dempsey | Worship Team Training® is available to come to your church and help train your worship team!

Visit: www.worshipteamtraining.com About the Author: Branon Dempsey is the CEO/ Founder and Training Director of Worship Team Training® (www.worshipteamtraining. com) a ministry providing live workshops and online resources for local worship ministries. Branon holds an M.Div in Worship and BM in Music Composition/ Performance and is an instructor with Christian Musician Summit, a writer for Worship Musician Magazine as well as other worship publications, and is a Training Partner with Yamaha Corporation of America | Worship Resources. WTT is supported by Line 6, D’Addario, Proclaim Church Presentation Software, iSing Worship and endorsed by Promark Drumsticks and Jim Hewett Guitars.

Copyright 2013 Branon Dempsey | Worship Team Training® | Administered by For His Music. All Rights Reserved. Printed in the United States of America. www.worshipteamtraining.com

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A FEW MOMENTS WITH…

By Paul Stevenson

Overcoming Worship’s Biggest Obstacle: You stimulated through their senses. A service which addresses each results in a more multidimensional perspective of God, but neither intellectual stimulation, emotion, or sensory stimulation themselves are worth anything if they don’t accurately and Awareness implies thought. If while in currently make us aware of the differences church we’re standing, singing, clapping, between us and God. and thinking about the football game, Attention That Moves On we’re not worshipping. On the other hand Attention plays a key role in our life. We if we are chewing gum, driving a car, and wouldn’t want to have to pay attention are thinking about how God designed to everything that came into our view... nature so much better then we could, we that would be tiring and a waste of are worshipping. Worship therefore is time. Neither would we want to ignore not primarily about style, practice, and the smoke alarm or miss the car turning procedure; it’s about creating worshipful onto the street in front of us. The worship thoughts within the worshipper. leader/designer attempts to attract, Total agreement on a definition of worship is impossible but here is one I propose: whatever else one is doing with one’s body or is feeling at a particular time, worship is being accurately and currently aware of the differences between us and God.

Congregations vary in their preferred and historic ways of doing this but they are up against an unexpected foe: human nature.

To lead people in worship means we have to address at least three qualities God created in us.

A Mind That Makes Hypotheses

If we couldn’t reason we wouldn’t be free. So God designed a brain that makes hypotheses and tests them. Unlike God we are not perfect, so our hypotheses are often flawed or untested. Some make bad hypotheses because of negative experiences. They may see God as angry and vindictive like their father. Others, from supportive and trusting households, may see God as a Sugar Daddy and believe that God’s forgiveness and grace comes with a trouble free life. Worship leaders are in a position to guide people in their hypothesis testing about who God is. The implication is that worship leading involves addressing people’s inaccurate hypotheses of God and facilitating their accurate ones.

A Personality Itself

That

Expresses

God uses a variety of personalities. The characteristics that made Peter a loose cannon are the same ones that made him a bold evangelist. The maturity that helped Joseph stave off sexual temptation and endure harsh imprisonment helped him become a ruler in a foreign land.

Planning worship needs to take into account sensing, feeling, and thinking; the main elements of our personality and temperament. Some in the audience will prefer a tight intellectual presentation; others long to be moved emotionally or

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maintain, and direct people’s thoughts to God, knowing that paradoxically, God designed people’s attention to shift.

Getting and keeping people’s attention will take planning, it cannot be assumed that gathered people are paying attention and are ready to worship. Relevant cues and useful information stand the best chance of winning attention and draining away any natural resistance.

would reveal a much longer glucose burn, as various parts of the brain hear, comprehend, analyze, synthesize, and respond.

This is why Jesus told parables. He knew that his listeners were often knowledgeable about the law…much like many of the people in our pews. But a story that requires comprehension, analysis, or synthesis as well as application activates the mind in ways that result in brain changes…not just brain responses.

Minimize repetition We pass speed limit signs without awareness but a police cruiser grabs our attention. Repetition is the enemy of attention. Our brain determines whether we have seen or heard something before and gives it a lower priority if we have. New information gets top priority.

Basically if we aren’t surprised by something there’s no reason to be attentive and nothing is learned (if this surprised you, you just learned something!). The good news is that changing the way we frame the information is all it takes to make it a priority again.

In most cases, our becoming aware of God’s greatness and our own shortcomings will result in a humble, thankful, and/or awed attitude. This is worship. It doesn’t matter whether these thoughts occur while engaging in behaviors such as singing, praying, meditation, clapping, hand raising, kneeling, creating, or serving, as long as they do occur.

If last Sunday you were successful at getting people to compare their level of grace to God’s using a story which stimulated their reasoning skills (If God forgives you, how can you not forgive others?), this week use an illustration which tugs at their emotions (A man dies after passing over a heart transplant because his non-Christian room mate needs it more) or stimulates their senses So, how can worship services help (the scene from the Jesus film when Jesus people make accurate hypotheses intervenes on the behalf of the woman at about God and hold the attention of the the well while a vocalist sings an acapella various temperaments and personalities version of “Amazing Grace”). Or, if you have the time, use all three during one in the audience? worship service.

Stimulate thought God’s truths are deep and new every People end up doing what they think morning. Why trivialize them by not about the most. If you want them to put asking for deeper levels of thought or their mind on God a lot, ask rhetorical bury them in repetition when they deserve questions that require more than a “yes” to be illustrated richly with the creativity or “no”. Asking them “Have you ever God placed in us. felt like God wasn’t listening?” is a valid question, but it requires a fleeting thought Paul Stevenson is an Assistant to answer. A brain scan would show a Professor of Psychology at brief flash of light indicating the glucose Roberts Wesleyan College consumed by the brain in response to whose interests include mind/ that question. Asking, “Why does God body/spirit connections. He seem to be silent sometimes?” requires has been involved with worship deeper levels of thought. A brain scan planning in large and small churches for a number of years.

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