Worship Musician! Magazine - MarApr 2012

PAUL BALOCHE New Seasons New Songs Same Love

Product Review

TC-Helicon VoiceLive Play 

Product Review

RainSong’s H-WS1000N2 Acoustic-Electric Cutaway Guitar

MAR/APR 2012  Volume 10, Issue 2 03

Record Reviews

One Sonic Society Don Moen Shane & Shane Paul Baloche  Jeremy Horn l

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US $5.95 Can $6.95

Songchart ‘The Same Love’

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Finding the Right Music Gear for Your Your Churc Church h Just 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! E

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

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Church Sound & Music Technology Guide

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Sweetwater-exclusive Interview with Brandon Heath

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Singer/songwriter Brandon Heath shares his thoughts on creativity, Singer/songwriter creativit y, craft, and his musical mission. There’s There’s also a special Q&A with Dan Muckala, the producer of Brandon’s Grammy-nominated album, Leaving Eden .

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Essential Guides for You and Your Volunteers Brandon Heath

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Learn how this award-winning singer/songwriter found his voice — and his true calling.

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CASE FINDER  Introducing the easiest way to fnd exactly the right case or your gear!

In-depth, down-to-earth down-to-earth articles help volunteers, pastors, and worship leaders to understand the ins and outs of the latest in worship sound technology.  WorshipSoundPro101Guides

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pg.6

RSS V-MIXING SYSTEM

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The Basics of

Keyboard

Takealookatthe instrumentswe’vehighlightedinthisgu ide,including Roland’sBK-5,theaordableCasio PriviaPX-830,andthepiano-like Kurzweil  WorshipSoundPro101Guides PC3K8.You’llalsowantto checkouttheNord C2D.

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Workstations: PowerfulTools fortheWorshipLeader

RolandBK-5

Ideal forContempor ary Whilestreamlined,piano-likeinstrumentsareideal oranumbero $ 00 Worship Songs worshipleadersandchurch pianists,manyotherhouseso worshiprelyon More info on pg. 104 keyboardsormuchmore thanjustpianosounds. Inact,iyou’rea pianocentricworshipleader,youmayverywell beabletoperorm andproduce yourentireservicewithasingle powerulinstrumentcalledakeyboard workstation.Morethanjustkeyboardswithhu ndreds,sometimesthousands, oinstrumentsounds,theseinstrumentsoten eaturemultitracksequencers, soyoucanlayer allthedierentinstrumentpartsintoa ullorchestration. KurzweilPC3K8 It’sverysimilartoworkingwithaud ioeditingandproduction sotware,only>> Sennheiser Amazing Feel$ and 95 $ 00 you’renottetheredtoa computer—andyou caneasilyplaythesebacking EW335G3 Piano Sounds More info on pg. 20 tracksrightromyourkeyboardduring services.Andeveniyou dohave More info on pg. 98 Churchesacrossthecountryswearby acompleteworshipband, youcanusea workstationtoaddaew choice thispro-levelUHFwirelesssystem! backinginstrumentstofllout yoursound—perhaps asecondtrumpetpart, astringsection,oreven anextrakickdrumsoun dormorepower.

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Choosing the Right

KEYBOARD Whetheryou’relookin gorasimpleinstrumentthatjustplaysandsoundslikearealacoustic gorasimpleinstrumentthatjustplaysandsoundslikearealacoustic piano,oryou’reseekingapowerulcenter pieceorallyourworshipteam’sambition s,there’s s,there’s adigitalpianothat’srightoryourchurch.Tohelpyouzeroinonthe perectkeyboa rdor rdor yourneeds,let’stakealookatthedierentkindsokeyboar dsavailable,aswellasthe importantactorsyou’l lwanttoconsiderwhenmakingyourdecision.

WhenLessIsMore

TracksandMixes for YourWorshipTeam pg.108

Manychurchpianistswework withoteneeloverwhelmedby thenumberochoices outthere—and evenmoresobythe numberoknobs,buttons, andcontrolson keyboards.“AllI need,”theytellus,“is aninstrumentthatplayslikean acoustic pianoandhasa antasticnaturalpianosound.” Ithissoundslikeyou, you’llwanttoselectwhat’scalled astage piano—and ideallyonewithaull seto88weighted keys (alsocalledweightedaction). Thesekeyboardsactuallymimic theresponseoa grandpiano’skeybed,wherethe lowestkeys requiremoreorcetostrike,and theupperkeyseellight and airybeneathyourfngertips.Tonail thesoundoan acoustic piano,today’stopkeyboardmanuacturershaveg onetogreat lengthstorecordsome othefnestgrandpianos intheworld, puttingthesesoundsright insidetheinstruments.Notonlycan yougetthesound oaclassicSteinway,buton manyyoucan alsopushasingle buttontogetthe soundoaBosendorer,a YamahaC7,orach aracter-flledupright. Iyou’rereplacinganacoustic piano,youshould consider theimportanceoaestheticsto yourchurch.Iyou have more-traditionalservicesorareseekingareallyn aturallook uponthe platorm,thenyoumaywant tochooseamore authentic-lookingstagepiano.Weh aveoptionsavailablewith woodencabinets,ina varietyofnishes,soyoucan choosean instrumentthatmatchesthedecor oyourchurch.

Go to

Sweetwater.com or call (800) 222–4700.

FIVE Main

Features to Consider 

As youtake a look at the keyboards eaturedonthe next ewpages,thesefveactorswillhelpyoustartnarrowing downyour decision:

1. Action Doyouwant keys that are weightedtoeelandplay just like anacousticpiano’s? Or doyouwant keys that glide beneathyour fngers sothat youcaneasily play synthand organparts?

2. Sounds Doyouprimarily nee danauthenticacousticpianosound, or wouldyoulike tohave other sounds suchas strings,synths, electricpianos,organs,andmore?

3. Arranging/Recording Capabilities Willyoube composingsongs withyour keyboard?I so, youmaywant tohave a built-insequencer,onboarddrum sounds,andadirect-to-computerconnection.

4. Sizeand Portability Choosinga76-keykeyboardinsteadoaull-size88-key instrumentcanbeagreatwaytocutdownon weightwhile maintainingafrst-classplayingexperience.

5. Appearance Howimportantisitthatyourchurch’skeyboardresemble anacousticpiano? Doyouwant anintegratedstand, orwouldyoupreertouse amoreportablestage-style keyboardstand?

849

Dropoutisjustas badaseedback.Even intermittent dropoutcanruin anotherwisewonderulservice.An unbrokenlineosight betweenthetransmitterandthe receiver’santennasisideal,butseldom isthatpossible.More timesthannot,the wirelesssignalmustrebound oowalls andothersuracesto reachthereceiver,andthatincreases theriskodropout. Iyouputa bodypacktransmitterin yourbackpocket,the signal(unableto passthroughyou) willhavetofnd analternativepathtothe receiver.So,to minimizetheriskosignal dropout,keepyourbod ypackin yourrontjacketpocket.

3495

 Worry-free 3799

ABalanceofFeaturesforModernWor ship

Korg Kronos 88

PerformanceRead ywith $ Iyoudon’tneed theall-outpowero aworkstation,butyou’dstilllike a 00 Powerful Features handulocutting-edgecapabilities— maybebuilt-indrumpatternsor More info on pg. 97 rehearsalsandalightersequenceror aquicksongwritingsketchpad — thereareanumber ooptionsthatallsomewhere inbetweenthetwo categorieswe’vealreadymentioned.Insteadocho osingan88-keyoption, whichhasthesame numberokeysasa ullpiano,youcan selecta76-key (orsmaller)version.Theseinstrumentstradea slightlyreducedrange(many Nord C2D keyboardistsneverusethehighestand lowestkeysanyway)orlighter BreakingThro ughthe Wirelesstechnol ogycanbealittledauntingatfrst.Butdon’tworry,wirelesssystems 00 Price/Perform anceBarrier$ weightandamore portableormactor.Youcanstillg etullyweightedkeys More info on pg. 103 ona76-keypiano, oryoucanchoose asemi-weightedversionthatworkswellaremucheasiertounderstandtodaythaneverbeor e.Mostwirelesssystemsset iyouperorma blendoclassicand moderninstrumentsounds,ratherthan themselve suporyou,and onceyou’vesetthemup,youdon’tneedtotouchthem suporyou,and strictlypiano.

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again.Here’sasimpleoverv iewowirelessmicrophonetechnol iewowirelessmicrophonetechnol ogy,howyoucanput Increasinginpopularityarekeyboardsthat eatureabuilt-inmicrophone input.Theseareperector theperormingworshipleaderand greator ittoworkinyour church,andhowtoavoidsomecommonpitalls. scaled-downyouthservices.Thevocalmicrophon egoesrightthrough the Therearetwobasictypeso wirelesstransmitters:handheldunitsandbodypacks. keyboard’soutput,soyou’llneed toampliyonlyone signal.Betteryet, YamahaS90 XS thereareproessionalvocaleectsbuiltin, soyoucanrefnethe vocalsound Handheldunitscombinea microphoneandawirelesstransmitterinto onedevice. PerfectBlendofEaseof $ 99 Theyareextremelyconvenientorworshipleaders,and evensomepastorspreer withouthavingtopurchase anextrapieceogear. UseandDeepFeatures thembecauseyoucan moveahandheldmicrophone awayromyourmouthi you More info on pg. 96 Don’tForgetAbo utRealisticOrganSound utRealisticOrganSound s needtocough. Wirelesshandheldmicrophonesarealso less susceptibletodropout,becausethe transmitterpartothe Theorganisstill averypopularinstrumentorworship services.Andwhile unitnaturallypointsouttoward thereceivingantennas. mostothekeyboardswe carryeatureabuilt-inorgan sound,youcan get

2399

thatorgan-playingexperience—complete withdrawbars—bychoosing dedicatedinstrumentorthetask.

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Havemorequestions?OurSalesEngineers areheretohelp youchoosethe bestkeyboardoryourchurch’s goals.Inact,whatyou seein WorshipSound  Pro isjustasmallsampling othemanykeyboardswe haveavailable.Giveus acalltodayat( 800)222–4700.

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CasioPriviaPX-830 TheLookandFeelofan Acous ticUprightPiano

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More info on pg. 102

Bodypacktransmittersallowyoutoplug inalavalier microphoneoraguitar cable,givingyouboth wirelessand hands-reeconvenience.Iyouare goingtousea lavalier microphone,you’llmostlikelywant tochooseonewith a cardioid(unidirectional)pickuppatternrather thanone withanomnidirectionalpattern.Cardioid lavaliersreject soundthatdoesn’tenterthem directly,makingthemless likelytocreateeedback.Justrememberthis: nomatter howmuchreedomwirelessmicrophones giveyou,you stillcan’twalkinront otheloudspeakerswithout causingeedback. >>Shure

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Anothermajorproblemis broadbandnoiseandradio intererence.Iyourchurchisin acity,chancesarethatan inexpensiveentry-levelwirelesssystemsimplywon’twork oryou.Thesameprecision technologyresponsibleorthe highsimultaneouschannelcount commontomosthigh -end proessionalwirelesssystemsisresponsibleorshuttingout noiseandradiointererence.Digitalwirelesssystems,which rejectnoiseandothernon digitalsignalsoutohand, are excellentcost-eectivealternativestotraditionalwireless systems. Allproessionalwirelessreceiversare“truediversity” receivers,whichmeansthattheyusetwo independent antennas.Thatway,ithewirelesssignal doesn’treachone antenna,itcanstillreach theother.Qualitywirelessreceivers haveantennasthattwisto,allowing youtomountthem on standsandspreadthemou t.Separatingyourantennasvastly increasestheireectiveness.Evenspreadingyourantennas outjustaeweet andmovingthemaway romyourother gearwillvastlyimproveyoursystem’sperormance.Also,i youhaveamultichannelwirelesssystem,you mayalsoneed anantennadistributionsystem,whichwill allowyouto connectonlyasingle pairoantennasto multiplereceivers. Whetheryouruturewirelesssystemisasingle-channel, single-speakersetuporalargersystemor thewhole worshipteam,itshouldeectivelyand accuratelyspreadthe message.Unortunately,manybudget-pricedwirelesssystems maymakeitdifcultand unpleasantoryourcongregation tohearthatmessage.I thenumberoqualitywireless systemsyouneedisbeyond yourcurrentbudget,practice wisestewardshipandsaveyourmoney untilyoucanaord thesystemthatyourhouseo worshipdeserves.Thereare excellentsingle-channelwirelesssystemsthatyoucanstart withandexpandlater.YourSweetwaterSalesEngineerwill behappytohelp youfndtheright systemoryourchurch.

Building a Mix It’sboundto happenatsomepoint: themixdisaster.Maybeyour church’sregular soundpersoncallsin sickatthe lastminute.Maybethenew volunteersoundperson doesn’tknowavolume sliderromasliding door,ora mixingboardrom amixing bowl.Whateverthecircumstance,something hastobe donetosave theservice. Withoutdecentsound,the congregationwon’tbe engagedorinspiredby themusic, andthemessagemay becompletelylost. Thoughcreatingthe perectsoundmix oraserviceisa trueart,asound personwithlittleor nomixingexperience canstillachievegood sonicclarityanddeliver themessage withpleasantandeective audio.Herearesome tipsor savingthedaywith aquick,last-minute mix—whether youareworkingthe soundboothyoursel orhavethehelp oavolunteer.

1.Keepitsimple. Unortunately,mixemergenciesrarelyoccurwhen youhave loadsosparetime toworkona solution—it almostalwayshappensminutesb eoretheserviceis supposedtostart.While yoursoundbooth mayhaveracks oprocessorsandsophisticated is >> Line 6 $audioequipment,now 99 notthetimeto randomly XD-V35 experimentwitheectsorto More info on pg. 19  inimumyou startturningknobs.Focus onthebarem An aordable digital wireless system such needtogetthe jobdone.Leavethe specialeectsor as this one provides reliable perormance. anothertime.

299

2.Usewhat’salread ythere. ythere. Hopeully,yoursoundsystemisalreadysetup, thecablesand thesnakearerunto themixer,andthemonitorsare tuned intopreventeedback.Plug themicsintothemixeror snake intheirusualpositions.Tryto usethesame“oldstandby” microphonesandothergearyou usuallyuse—again,now is notthetimetoexperimentwith newgear!

>>  AKG

$39900

DMS70 3.Haveaconver sationwiththewors hipteam. More info on pg. 22 ThisExplaintoeveryonethatthe inexpensivedigitalwirelesssystem regularsoundpersonis not isareal perormeronstage!isrequiredtohavethe servicego availableandthathelp well.Thismeansguitaristsneed toturndown,drummers needtocontrolvolume, andsoon. Explainthatthemonitor

PhotobyJonJamesandTroyBehrens

7.Havethewors hipteambegintoplayasong. Watchorredoverloador “clip”lightsonthe mixer.Iyou seethese,turndown thegaincontrolsat thetopothat source’schannel.

8.Buildthemixbybringingupthevolume adersorthebasicsfrst. Startwiththebassdrumand thebassguitar,turningthem uptoacomortable levelandbalancingthemagainstone another.Youmayneedtoadjust thelevelothemaster volumeadertogetthe overallleveltotherightpoint.

9.Turnupthevolumeadersorthevocals.

systemmaynotbep erect—orewarningtheteam that everythingmaynotbeideal willgoalong waytoward easingtheprocessoreveryone. Atleasttheywillknow whattoexpect!

Nowocusonthe vocals.Setthemtoacomortable level, balancedagainstthebassguitarand thebassdrum.Thelead vocalistneedstobethe loudest,withthebackgroundor harmonyvocalsfllinginbehind.

4.Turniton.

10.Turnupthevolumeadersonthe otherinstruments .

Turnonthespeakersorthe ampliferslast;thispreventsloud thumpsandpopsrom comingthroughthesystem.

5.Resetthemixingboard. Beginbypullingall thevolumesliders(aders)down to zero.(Usuallytheseareound atthebottomo each channelonthe mixer.)Setthechannelgain toamid position(Usuallythis knobisound atthetopo each channelonthe mixer.)Next,resetalltheequalization(ton e) controlsonthemixer totheircenterposition,which is essentiallyo.Turntheauxiliaryormo nitorsendso.Make surethatmuteorsolo buttonsaredisengaged.( Usually thesebuttonsareoin theupposition.) Setthemaster volumeadertoabout 50%.

6.Begintestingeachsoundsourc e throughthemains. Havethemainvocalistspeak orsingintohis orhermic. Bringupthevolume slideruntilyoucan hearthevocalsin themainspeakers.Turnup theauxiliaryormonitorsends untilthevocalistcanh earhimselorherselin themonitors. Asyouveriythateach micorsourceworks, pullitsvolume aderbackdownto zero.Youcanleavethe aux(monitor) sendsturnedupso thatthesingerscan hearthemselves.To preventeedback,don’trun thestagemonitorstoo loud.

Oneatatime,b eginturningupthe otherinstruments.Start withtherestothedrums, thentheguitars,thepianos,the keyboards,andanyotherinstruments;adjustthe volumeas needed.Balanceeachone againstthevocals,thebassdrum, andthebassguitar.Thisis aplacewhereyoucan erronthe sideobeingconservative.Thevocalsare themainocus, andyouwanttoensure thattheyareclearlyaudible.Usethe otherinstrumentstofllaroundthe vocals,withoutobscuring them.Asyougo, adjustthemastervolumeadertocon trol theoveralllevel.

$

>>

LINE 6

STAGESCAPEM20D

249999 More info on pg. 31

spikesinsound.Askeach worshipteammemberwhathe or sheneedstohearrom themonitors—one atatimesothat everyonedoesn’tspeakatonce— andadjusttheauxiliary sendsaccordingly.

13.Don’ttrytoovertunethemix, anddon’tmakeittooloud. Setthingsupsothat theyarecleanandclear,and ata comortable,conservativevolumelevel.Thenstop!Onceyou gettothepointwhere itsoundsokay—this shouldhappen airlyquickly—stoptweakingtheknobs. It’seasytolose perspectiveandgetlostinkno bturning,eventhoughthe goal hasalreadybeenachieved.

14.Here’safnaltip. Whenindoubt,ocus onmakingthevocals, whetherspoken orsung,clearlyaudible.Thecon gregationistheretohearthe message,whichiscontainedin thewordsandlyrics.The music isinspiringandessentialtoa greatservice,butitplaysjusta supportingroleinthegrand schemeothings.Ensurethatthe vocalsareheard,andtheservicewill beasuccess!

11.It’stimeortheequalizers . Uptothispoint, wehaven’ttouchedtheequalizers(tone controls)onthemixer.Iyou fndthatthesound isgetting toobassyorboomy,use the“low”orbasstone controlto reducethebassrequenciesasmall amountoninstruments suchasbassguitar,keyboards,and piano.Vocalists,especially malevocalists,mayalsoneedtheirbass reducedasmall amount.Toincreasetheclarityoa vocaloraninstrument, addasmallamount otrebleorhighrequenciesby usingthe tonecontrolsonthatmixerchannel. Becareulwiththetone controls,asoverusecanleadto eedback!

12.Fine-tunethemixandthemonitors. Adjustvolumelevelssothatinstrumentsand vocalsare balanced,andadjustthebass andthetreblecontrolson channelsasnecessarytopreventboominess,harshness,o r

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News and Articles Get useful, up-to-date editorials, reviews, and information from experts in worship sound — and stay current on the latest developments.

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ontrol your own monitor mix from an iPhone® or iPod® touch with PreSonus’ free QMix™ app for StudioLive digital mixers. Up to ten individual on-stage mixes with a StudioLive 24.4.2! Pick which channels you want to include, tweak their levels and then use the ingenious Wheel of Me to boost only  your  channel with one finger swipe. Need to control your

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whole mixer from the stage, pulpit or pew? Use StudioLive Remote and an iPad to adjust all major mixer functions including Fat Channel signal processing. Want to record the service in 24-bit multi-track? Capture™ 1.1does it i t in two tw o mouse clicks (and comes free with all three StudioLive models.) Editing, overdubs, extra tracks of sampled instruments and drum loops? Studio One™ 2 Artist DAW also comes free. At the heart of all this wireless control are the world’s best-selling compact digital mixers. Packed with easy-to-use Fat Channel digital signal processing and effects. Equipped with our renown XMAX™ Class A mic preamplifiers. Don’t let your church settle for a mixer that’s just a lump of hardware with bits of bundled software. Get the complete seamless integration that only StudioLive can deliver. Visit our website or your nearest PreSonus dealer today. tod ay.

©2012 PreSonus Audio Electronics, Inc., all rights reserved. StudioLive, XMAX, Capture and QMix are trademarks of PreSonus Audio Electronics, Inc. Studio One is a trademark of PreSonus Software Ltd. Mac, iPad, iPod, and iPhone are registered trademarks of Apple, Inc. All other trademarks, registered trademarks, and figments of our imagination are the property of their respective companies. Let’s get this settled once and for all: Hillbilly Handfishing is NOT filmed in Louisiana.

1   S    0    t   m  u   d   i     o   o  n  i    L   i     t   v   o   e  r   m 2   4   i    . x  4    e   s  .2   w  ,2   i    5    t   h   X   1   M   0   i    P   A   X    o  n   p ™  e  r    s   e   a  m  p   s   ,

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4   S   m  t    u   d    o  i    n  i    o  L    t   i     o  v  r    e  m 1   i    x   6   .  e   s   0   2   w  ,.2   i    1    t   h   2   4   X   M  i    P   A   h   X    o  n  ™  e   s   p  r    e   a  m  p   s   ,

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Made in the U.S.A. ©2012 Dean Markley

Editor’s Corner

The Best Seat in the House... I you asked me what I elt my vocational calling in lie was… I would answer you with, “To help train and prepare the stage or artists, worship leaders, musicians, and techs to walk in their ministries, gitings and talents”. This is an ongoing eort through the two magazines we publish, the training conerences I am a part o producing, and the concerts and events that I have the oppor tunity to present or to assist in. What is simply amazing to me is that in doing this, not only have I had the distinct honor o meeting some wonderul artists, worship leaders, musicians, and techs (and Judy and I have been beriended by many o them), but that during any o the actual events/conerences I get the best seat in the house (usually just o-stage let). What a cool gig! Thanks go to God rst and oremost or this… as growing up I would’ve never seen this coming. Looking back I can see the building blocks o the Lord were in place but nonetheless it still amazes me that I get to be a part o this wonderul process and see it unold beore my eyes time and time again. God is so aithul! I wanted to express that rst so you would have some insights into our 3rd Annual Night o Worship at NAMM. In going goi ng now or over 30 years to Anaheim, CA or the National Association o Music Merchants (NAMM) convention held at the Anaheim Convention Center, the Lord gave me a desire o my heart a ew years back with our rst worship event there. In the midst o 95,000 registered attendees and over 1,400 exhibit booths eaturing products or musicians and musical instruments rom literally every company all around the world, we were given an opportunity to partner with WATS (Worship Arts Technical Summits – a collaboration o Yamaha Commercial Audio, Yamaha Musical Instruments, Shure, and Elation Lighting) in producing a special night o worship right smack in the middle o a very secular convention. This year we also had our riends at Boss and Hal Leonard Publishing join us in the eort. Taking the lead along side o me again or the planning and execution o this third annual concert was our trusted buddy Mike Overlin (Manager o Worship Resources rom Yamaha and WATS). Each year we talk through which artists to invite and plan out the logistics o such an evening. The PA, lighting, screens, cameras, and backline stage gear all have to be in place. NAMM themselves have been supportive o our eorts and are impressed with how strong the interest level is or an inspirational night o worship there in the midst o the convention. Continued on page 52

4227 S. Meridian. Suite C PMB #275 Puyallup, Washington 98373-5963 Phone: 253.445.1973 Fax: 253.655.5001 Email: [email protected]  Website: www.worshipmusicianmagazine.com Publisher/Editor: Bruce Adolph  Vice President: Judy Adolph Customer Service: Brian Felix [email protected] Copyediting: Kevin Wilber, Toddie Downs Design Layout & Production: Matt Kees  Advertising Sales: Bruce Adolph [email protected] • 253-445-1973 Worship Musician! is published bi-monthly by The Adolph Agency, Inc.

MAR/APR 20 201 12

VOL. 10, ISSUE 2

Features 8

Product Review  By Bruce By  Bruce Adolph RainSong’s H-WS1000N2 Acoustic-Electric Acoustic-Elec tric Cutaway Guitar 

10 From the Drummer’s Perspective By Carl Albrecht  “One Drum Kit, Many Drummers” ...or “Can’t We All Just Get Along?” 12 Keyboard By Ed Kerr  Print This 15 Bass By Gary Lunn What is Required 16 Vocals By Sheri Gould  The Ultimate Vocalist - Part II 18 Tips or Tight Teams By Sandy By  Sandy Homan Sweat it Out, Get it Out! (Once More, With Feeling)

42 The Band By Tom Lane  Lose the Attitude 43 Product Review  By Kevin By  Kevin Wilber  TC-Helicon VoiceLive Play  44 Camera By Craig Kelly  What Does Being a Camera Operator Mean? 46 Worship Team Traini raining ng By Branon By  Branon Dempsey  Beyond the Setlist (Part 2) 49  Worship Musician 10th  Anniversary PreSonus Give Away  50 Mandolin By Martin By  Martin Stillion  Advice rom Andy  54 A Few Moments With… By Rich By  Rich Kirkpatrick  Cut-and-Paste Creativity: The Death of Art, Music and Connection in Church Worship

26 Songchart  “The Same Love” by Paul Baloche & Michael Rossback 30 Record Reviews By Gerod By  Gerod Bass • One Sonic Society • Don Moen • Shane & Shane • Paul Baloche • Jeremy Horn 36 Ministry + Artistr Artistryy = Proftability? Creating  your MAP™ By Scott A. Shuord  Social Media: What Do I Share?

Interview 

38 Authentic Worship By Michael Gonzales The Dynamics of Change

20 Paul Baloche: New Seasons, New Songs, Same Love by Aimee Herd

40 Guitar Grab Bag By Doug Doppler  Bringing it Home to the House of God

photos: Jeremy Cowart CMS photo: Brian Oliver

2012 2 WORSHIPMUSICIANMAGAZINE.COM MAR/APR 201

7

PRODUCT REVIEW By Bruce By  Bruce Adolph

RainSong’s H-WS1000N2  Acoustic-Electric Cutaway Guitar

“Lighter Than Wood & Stronger Than Steel” Beore you even think about the merits o a composite graphite acoustic guitar (and there are many) you have to realize that this guitar stands rmly on it’s own as a ne acoustic guitar. Period! The tone, eel, and playability – all the pieces that combine into making an acoustic guitar to be a great guitar- are all rock solid on this instrument. I say this because sometimes when you have something so “out o the box” construction-wise as a composite made guitar, the tendency is to too quickly list the characteristics and advantages o the graphite against a wood guitar. It is true that there are some distinct bonuses to playing a RainSong. But beore you start that conversation, you need to know that this H-WS1000N2 acoustic-electric cutaway guitar turned my head around on it’s tone, eel, and playability rst! It was a “winner-winner-chickendinner” beore I began counting the merits o composite versus wood construction. The body shape o the WS is a hybrid mix between a large and small body. It sports a large, deep chamber or strong projection (and nice bass), as well as a narrow waist and tight upper bout (or a ringing treble). The d e e p

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cutaway invites you to play up the retboard as ar as you want to go. For those o you who have been avid readers or years, you already know that I am a an o composite instruments. I have personally taken graphite guitars to the extreme o weather conditions (rom a wintry minus 10 degrees in Edmonton, Canada at the Breakorth Conerence, to a high desert 100 degrees at the Creation West Festival when they used to hold it in George, WA). I tell my wooden guitar owner riends that you should never place an acoustic guitar in a situation where you wouldn’t be comortable yoursel, temperature wise. Not so however with this composite graphite guitar. They are impervious to weather. I it wasn’t or the pick-up/ electronics on board, you could take your RainSong into the shower with you. Graphite is a material that is literally lighter than wood and stronger than steel. Because o this stability you get a rm neck that plays evenly up and down the retboard… solid as a rock. Because o the graphite, you get an instrument that stays in tune better than a traditional wood instrument, and you certainly don’t have to worry about humidity changes cracking your wood tops, backs, or sides; or about your guitar going out o tune like crazy because the wood is trying to acclimate to it’s new surroundings. On a recent fight to Anaheim or the NAMM Show I had a ne wood acoustic guitar with me and I placed it in the overhead bins on the plane or saety. The stewardess told me it might have to be “gate checked” i the plane was too ull o carry-ons. Sure enough, ve minutes later I see her walking my hardshell hardshel l guitar case down the aisle to have it placed below in the belly o the plane. When I landed, the case had two round indents in the bottom o it and a tear in the tolex covering. That reaked me out. I opened it up and sure enough, a piece o the end pin block inside the guitar was chipped o. There was also a crack in the cedar top, and the instrument was hit so hard that the battery was knocked loose rom it’ss metal holder inside the body. How did it’ they do this by just hand carrying it one foor lower than where I was sitting?

I I’d had this RainSong with me my case would have been a little dinged up, but the guitar inside would have been ne as can be. The only way they could o hurt this one is i they actually ran it over with the commercial size aircrat. I have known several riends with nice high-end wood acoustic guitars, some o them who also bought expensive atermarket tour cases, who have had their guitars damaged traveling. I rst was turned on to RainSong around 15 years ago when I was visiting Hawaii and I took a personal tour o the manuacturing plant led by Dr. John Decker himsel… the inventor o RainSong… the world’s rst all-graphite acoustic guitar. The body, neck, retboard and bridge are all made out o pure graphite/composite. Now, several  years later with the diminishing supply o certain tonewoods, the regulatory mess o the current denition o the Lacy Act (i  you don’t know how this is aecting the sales o new and vintage guitars - you need to) and the eorts to look or ways to go green and conserve our natural resources… well, a composite graphite guitar looks even more inviting. Another eature I like is that when you buy a wood guitar with a solid top you are told the customary “just wait about 7  years or the wood to age and the sound will get sweeter as time goes by”. You really don’t know what it will sound like in 7 years – it is a leap o aith to trust that it will sound better better.. With a RainSong guitar you know exactly what your guitar will sound like in 7 years because it will always sound as good as it does the rst day you bought it. This H-WS1000N2 is clear, rich, and resonant, with a treble that rings clear and bright and a bass that is warm without being muddy. RainSong has trademarked what they call “Projection Tuned Layering” which aords the guitar a uniorm stiness that keeps unwanted undertones away and doesn’t give you the somewhat inherent problems o regional bracing challenges ound in guitars made o wood (which can sometimes deaden the resonance). This also gives the RainSong a balanced sound and a big volume. Since there is no wood on this guitar… Continued on page 48

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FROM THE DRUMMER’S PERSPECTIVE

By Carl Albrecht 

“One Drum Kit, Many Drummers” ...or “Can’t We All Just Get Along?” I love to play my personal drum kit. It eels right! Everything seems to be perectly suited to my size and shape. Please, no comments about my size or shape! …You know what I mean. You spend hours practicing and playing on the same instrument and it just seems to become become part o you. The drum throne eels like home base. All o the drums and cymbals are in the exact spot where you have meticulously placed them. Everything is adjusted to the microscopic degree o height, angle, and tension. The music fows naturally. Ahhhhhhh! Now we go to the church, or music estival, or some other multiple band event. There sits the drum kit that all drummers dread; the “house kit.” They are the drums that remain in the church all week, and besides the real players, everyone who has an itch to play drums has sat down and made themselves at home. They “pretend” to be a drummer while beating the poor things to death. I you tour doing “fy dates” (traveling by airline), or play estivals, it’s the rental kit or what is called the “backline” drums. And believe me rental drums are “like a box o chocolates:  you never know what you’re gonna get!” The most important thing in any situation like this is to keep a good attitude and don’t become a drum diva. You know, the player that says, “Well, I just can’t play on this kit; they are not the hip, cool drums that I use, and they’re just not congured the way that I MUST have them!” OH, please, PLEASE . . .don’t ever do that. Just step back and evaluate how to work with what you are given. Stay humble and gracious in every situation and the people will remember you or THAT, long ater the memory o your musical genius has aded. I realize that it is not as inspiring to play an instrument that may not be up to par with  yours. But I believe that inspiration and great music come rom your soul, not rom your instrument. Here again, I’ll admit this can be very challenging. Face this test o your character and CONQUER IT!! In the church setting, I get together with all o the other drummers and we have a little chat. I mean, yo . . .can we talk? Especially in church ministry we should truly be a “band o brothers.” -- OH, and sisters too, o course, i that applies. We will eventually agree on a set up that we can all play with very little adjusting rom one player to the next. I usually recommend that you build rom the basic vepiece kit and then go rom there. You know; kick drum; snare; two rack toms; a foor tom;

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then hi-hats; ride cymbal; and two crashes. You might add a second snare to the let o the hi-hat. Maybe another foor tom next to the other one works or everyone. More cymbals can work too i you can all agree on a common position or them. In some situations maybe everyone will preer a our-piece kit. (One rack tom, and then the ride cymbal sets lower to the kit where the second tom normally sets.) This seems to be a common approach or more straight ahead rock music. But again, the idea is to come up with a basic set up that all the players can be happy with. Don’t be so particular that you can’t adjust to a common drum set up. Slight adjustments in drum throne height or angles o cymbals or drums are understandable, but more radical changes can be a real hassle. Changing rom a ve piece to a our-piece conguration every time is a big deal. Or moving all o the cymbals around to some personal pattern takes up a lot o time. I understand this could be necessary i there are righthanded and let-handed players. But in most situations I think we can all come up with a common set up. In the church music world you may eel that rom service to service there is plenty o time to change a drum set to each players personal design. That is probably true, but is that really the most ecient way to work? Every player would have to spend more time getting ready at each event they play. The engineer would have to reset microphones. And the drum set itsel starts to wear out aster because o the constant tweaking it has to endure. At estival concerts I usually just walk on to the stage with my stick bag and try to sit down and play the drums just as they are set. Maybe a slight throne adjustment; a little drum and cymbal angle change; and away we go. I won’t even change cymbals or the kick pedal unless it just isn’t working or me. I do carry mine with me, but I don’t always use them. I can just hear someone saying, “Ah, Carl, are you crazy?!” Nope! I’m just tryin’ to keep my drum lie simple. At estivals or other multiple drummer settings I’m trying to help the other players and the technical crew as well. Those gigs are tough! And everyone’s working so hard!! Transitions rom one band to the next usually happen very quickly. Many times I’ve had crew guys thank me or

making their lie easier. I just look at it like a learning experience each time. Sometimes it’ss a great experiment. At other times I have it’ suered through some bad drum or cymbal sounds. I’ll take note o what I was playing that I liked or didn’t like. What adjustment was really necessary that I overlooked? I always attempt to stay positive no matter what happens. Being a “can do” kind o player just makes lie more pleasant or everyone. I might even have time to x broken drums or help change heads i needed. Yes, I’ve really done that. When transitions are happening ast I’ll usually help the next drummer get set up. Hopeully they’ll try to play the kit as it has been set up also. This doesn’t always happen, but when it does, things just fow better. better. When a drummer demands a lot o changes, everyone seems to be a little more stressed out. That’s not a good environment to be in at a music estival, and even more so at a Christian music event. It is ultimately a spiritual downer when you’re playing or a praise and worship gathering and the players can’t cooperate and work together or the common good. To quote our Star Trek hero, Spock, “ The needs o the many outweigh the needs o the one.” OK . . .well, how about a scripture? Philippians 2:3-4 “Do nothing out o selsh ambition or vain conceit, but in humility consider others better better than yourselves. Each o you should look not only to your own interests, but also to the interests o others.” Most o you doing church ministry don’t have to deal with touring or multiple band events. It’s still a challenge to make all the drummers happy with the one drum kit everyone will use week in and week out. I’ve even heard stories about just two drummers being at odds with each other over this issue. Think o a church ch urch where you might have the challenge o three or our, or even more players. Again, the bottom line is to nd common ground on which everyone can do his or her best. Making the drums unctional or everyone with the least amount o changing should be the goal o your drum team. I mean really, “Can we all just get along?” Teamwork, teamwork, let’s go! Carl Carl Albrecht has been a proessional drummer &  percussionist or over 25  years. He has played on over 70 Integrity Music  projects; Maranatha Praise Band recordings & numerous other Christian, Pop, Country,   Jazz & commercial projects. He currently  currently  lives in Nashville doing recording sessions, producing, writing and continuing to do  various tours & seminar seminar events. events. Visit his website: www.carlalbrecht.com or send  an e-mail to: [email protected] [email protected]..

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KEYBOARD By Ed Kerr

Print This I’m starting this article in a Starbucks near the campus o Liberty University in Lynchburg, Virginia. I’ve been on campus three days giving suggestions to worship teams, coaching keyboard players and songwriters, and enjoying everything about my visit. God is doing amazing things in the lives o the students here, and the Spirit o Jesus is so evident in them. I’m inspired. I’ve shared something with them that I want to share with you. Beore you read any urther, please visit my website, www. kerrtunes.com and ollow the link on the home page to “Permission Slip”. Download and print the document. Make copies. Keep them with you so you’ll have them on hand to distribute next time your worship team gets together togethe r. Okay. Since I’m certain that each o you has printed the document and the smell o laser toner is permeating the room (I’m kidding, though I do hope you’ll print the document), here’s what the permission slip is about. It reads: “I do not have to perorm a worship song the way it was recorded. I can create my own arrangement”. Then you sign and date the orm. What’s the point o the Permission Slip? To ree musicians on worship teams rom thinking they should always perorm a worship song as close as possible to the recorded version they’ve heard. While there’s value in scrutinizing and duplicating the instrumentation, arrangement, and vocal roadmap o a recording (and sometimes that’s what you are assigned to do), there can come a point where the musicians playing and singing that arrangement might eel that their creativity and musical instincts aren’t needed. In my work with bands here at Liberty, in my home church, and in churches around the country, I’ve seen that giving musicians their Permission Slip to do whatever they want with an arrangement can bring resh energy and inspiration to their presentation o a song. You’ll nd that there’s extra time and eort required to create the arrangement, but the payo is antastic. I saw it on the aces o the musicians here, and I want to give you a ew bullet points that can ree you to create your own unique arrangement o a song you love. One o the classes presented 3 worship songs as a set. The 3rd song was the hymn “It Is Well With My Soul”. This classic hymn ollowed Hillsong United’s song “The Stand”, and the stylistic contrast between the two was extreme. Giving yoursel permission to create a new arrangement or “It “ It Is Well…” could make these two great worship songs more musically compatible. Let’s jump in. • Start with a hook: Rather than quote the melody o “It Is Well…” or the intro, create an original melodic idea there.

A guitarist in the class came up with this melodic line. It has nothing to do with the melody o “It Is Well…” but sets a great mood as an intro. It also works nicely nice ly as a re-intro when the rst chorus ends. • Lesson here: Always be listening to melodies the band is creating in rehearsals. One o those melodies, like this one, could make a great intro hook or your new arrangement. • Create Contrasts Between Sections: Notice, too, that there is a “push” when the chords change within the rst 3

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MAR/APR 201 2012 2  WORSHIPMUSICIANMAGAZINE.COM

bars o this intro gure. The second chord in each o these 3 measures changes on the “and” o 2, creating a nice contrast to the chords o the verse and chorus, which all move directly on one o the beats in the measure. Letting chords push in some sections and not in others can help clearly dene your sections, an important aspect o a strong arrangement. • Reuse Your Hook: The class let the re-intro begin right on the last note o the chorus rather than playing a measure o C rst. Here’s the result:

Here’s that measure o C that might normally be heard when the Chorus ends. Play these two examples. I think you’ll hear the momentum that’s gained by omitting that measure o C.

Below is the chart or the verse and chorus we created. Small, I know. Visit my website or a ull size chart you can print.

• Re-harmonize: As you play and sing through the chart,  you’ll hear that we used many alternate harmonies. As the rst note o the chorus is sung, or example, the original hymn uses a C chord. We chose to use the F2. The congregation sings the unaltered melody, but they hear a resh harmony. In creating  your own arrangements, explore alternate harmonies or your melodies. There are many chord options or any note. Explore them. • Take some time with your team to rearrange a song. The payo is great or you, as well as or those who’ll be listening.

As a songwriter Ed has written over 100 songs with Integrity Music. He has a Masters Degree in piano per-  ormance. Ed and his amily live in Washington State. Ed plays Yamaha’s Moti XS8. www.kerrtunes.com

 Available in stores March 13th LP available April 3rd

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Download a song and chord chart of “The Same Love” at: worshipforward.com/PaulBaloche

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BASS

By Gary Lunn

 What is Required I recently read an interesting thread on Facebook that was about whether or not musicians who play in their own churches should be paid. A riend o mine who posted excerpts rom a sermon on that very controversial subject spawned the thread, and it really got me thinking about the requirements o the bassist in a church band. Is playing bass a couple o times a week beore Sunday the right approach? Not really, but those o you who work other jobs may not have enough time in the day outside your job, bills, kids, amily  amily,, etc. to keep up on your skills. Unless you are a “miraculous” player, the standard is probably not enough or the Creator o the universe. Maybe there are no proessional musicians in your church (or in the area in which you live) who could either lend a hand as a mentor to players in your church, or just be hired to play in order to bump up the excellence in the worship team. There is really no denitive answer to the question o increasing the skill level in the worship team. I think revisiting some o my suggestions in the preparation department may help those o  you who nd yourselves in that dilemma. Practicing as much as you can makes all the dierence. It doesn’t matter how long  you’ve played, or how much experience  you may have, it always help to practice scales, timing, improvisation, and especially…restraint. You can ALWAYS learn. Practicing with clicks and/or loops can help bring you to a level o excellence that will help you hear dierences in dierent player’s “eel.” When there is someone in the band that has great timing and their own “cool” eel, you’ll know it. You can listen to them and learn their concepts, swing values, etc. as well. Considering that the bass player in a rhythm section is usually the most “time” conscious member o the band, lling our role well requires us to listen constantly to subdivisions within the music, comparing the subtle dierences in the styles o subdividing among the your ellow players. Bassists have to learn to trust their

watchman-like concepts o timing and to compare the “eel” o those players around them. It may sound complicated to do this at rst, but once you get it, it becomes as easy as breathing. This skill can really help the whole band to “lock in.” I you are playing to a click in your worship team, sometimes the click seems to disappear in the monitors (earphones, especially). That tells you that everyone is playing so closely to the click that you can no longer hear it. When the time comes that you CAN hear it, that means (usually) that the drummer is rushing or dragging, so he knows to adjust. I your drummer hasn’t heard about this be sure and tell him. It can truly help tighten up the band. Awareness o timing (rushing or dragging) can aect the heart, or cadence, o a song. Oten the eectiveness o the song depends on how steadily you, as a timekeeper, present it through placement o bass lines. As bassists we have the ability to “pull” back a rushing instrumentalist simply by laying back on the beat. I you are playing with a click, concentrate hard on it and constantly remind yoursel to lay back behind it ever so slightly. I you hold ast to that technique, the band will ollow you eventually, orcing everyone to play with the click. A lot o worship music these days consists o eighth notes in several dierent ways. You may think that it’s simple but  you have got to be on your toes. I have ound that it is usually the simplest songs/ styles that are the most challenging to play. I believe this is because as we repeat certain patterns over and over our brains begin to second-guess the previous times we’ve played that same pattern or section. Your mind can play tricks on  you and you might begin to think you’re bored. Just remember that the simpler the pattern is, the quicker you have to set a consistent ngering style and then stop thinking about it. Concentrate on the other

groove elements in the rhythm section. Focus on the high hat, bass drum, click track (i you have one), rhythm guitar, etc. and let your ngers play. Concentrate on the song as a whole and see that it has a sel-contained accomplishment. Another method o practicing that helps me is to pick out a piece o music with a bass part that I am unable to play. Then I practice and work on the song and I don’t give up until I can play it. I did that recently with something I saw on YouTube that was, technically, WAY over my head. I was determined that I was going to learn it i it took me days, weeks, months…whatever! I knew that I would have to break it apart and learn it section by section. I slowly chipped away at it but there was one part o the song where it was very hard or me to decipher the bass part, so I researched and ound a video o someone playing the song in the proper manner. That really helped a lot and eventually I conquered it. One thing I noticed was that ater I had learned it, I elt just a little better about everything else I played. I elt a lot more condent playing well-known material. Shortly ater that I played a gig with a band that plays some pretty challenging material and I ound mysel enjoying the music more than ever because everything seemed to be a little easier to play. play. I believe that this was because I had raised “the bar” up another notch. Maybe you should try setting some goals in your playing. A sense o accomplishment can really give  you a boost in your ability. Feeling more accomplished as a musician does not hurt at all, but you have to maintain awareness that you were given your talent on loan and that with humility you can give it back to Him in better “shape” than when you rst got it. Be blessed! Gary is a session player/  producer/writer in Nash-  ville, TN. He does home  recording, plays many re-  cording session accounts, and attends Grace Church ( gracechurch-  gracechurch-  nashville.com)) in Franklin, TN. Find him nashville.com on www.acebook.com or questions or  scheduling. 2012 2 WORSHIPMUSICIANMAGAZINE.COM MAR/APR 201

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VOCALS

By Sheri Gould

The Ultimate Vocalist - Part II Last time I began outlining ve “P” words to help you remember some key basics in becoming the best the ultimate vocalist you can be. These were: Prepare, Practice, Position (your larynx), Perceive and Presentation . I you missed that article, you can nd it archived online at www.worshipmusicianmagazine.com. Because o the importance o the nal “P”- Presentation, I decided to dedicate an entire article to this aspect o singing. The actual presentation o a song is really the culmination o all the other work you’ve done so ar. Yet, in spite o the importance o all o those—none compare to the impact o this particular aspect. In actuality, i you could somehow get ahold o your presentation and do a great enough job with it, you could conceivably accomplish nearly all o  your primary goals as a singer. I say this condently because o the incredible number o singers out there who clearly have not worked on some o the ner points o singing, and yet they touch us . . .they move us. Why? The answer is: their presentation. The Goal  So what is your goal as a singer? You need to remember that everyone who comes to see/hear you sing is looking or an experience  (even i they don’t immediately realize it). Depending on the venue, the experience they’re seeking will likely be slightly dierent. For example, i you’re singing in a coeehouse, people may be looking or one type o experience. I they’re coming to see you at a large outdoor concert, then it could be a slightly dierent type o experience they’re looking or. I they’re coming to see you in a church...you get the idea. Yet even though these experiences are dierent to a degree, they’re likely to be very similar in that it’s an emotional  response most o us crave when it comes to music, especially singing. Unlike other types o music, singing can direct your thoughts more pointedly. All types o music are capable o moving   you and creating a response, but with vocal music we can communicate more specically. Because we have the advantage o language in our music, we can communicate very specic concepts. These concepts are designed to touch people and reach them where they live. Those are the types o experiences that people enjoy and remember. So we need

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to make sure that our primary goal as a singer is to be a servant. A servant that serves up a message that can touch, aect, and even change our audience. What It’s Not  Many singers, intuitively recognizing the goal as stated above, can get conused as to how to get there. I oten see perormers mistakenly thinking that THEIR emotional response to the message or the song itsel is what will move their audience. There is a big dierence between a displaying o your own emotions versus an evoking o emotion in your audience. Make sure   you understand the dierence. Try to remember this: the audience is not so interested in how you eel, but you make them eel. Lots o outward emotional responses and overused hand motions simply become distractions or the audience and prohibit them rom getting in touch with the message themselves. Along this line it’s important to remember that when you are nervous or uncomortable in any way, this will also greatly aect your audience. They will naturally respond to your needs and nd themselves concerned or you rather than simply responding to the song. This is because your message has changed, it’s no longer rooted in the song you’re singing or its message, but instead the message has become all about you and  your emotional state. Own the Message  In order to communicate any message eectively, you have to truly understand it and eel its impact. This is one reason why it’s important to sing a song whose message you can truly relate to. It doesn’t make sense or us to try and connect with a message that really has no place in our lives. I oten nd it amusing when I see YouTube videos o little 7 yr old girls singing “I’ll Always Love You” or some other moving love song that they can’t possibly relate to or have anything other than a cursory understanding o. These types o perormance are strictly designed to show o certain vocal aspects o the child, but they do nothing to really move the audience most o the time. However However,, when Whitney Houston sang the song (especially in light o the role she played in the movie or which this was the theme song) the song was truly moving. Her breathtaking rendition is rendered out o not only impeccable vocal technique (encompassing the rst 4 “Ps” perectly)

but also a genuine understanding o the message. She truly owned the song. Own the Song  Owning the message is critical, but the last step is to truly own the song itsel. No place is this more relevant than in the church. Recently, I experienced this rst hand. I was in church one Sunday and was able to observe a young woman who truly embodied this whole idea. As I watched her lead in worship, as a background vocalist, I was truly moved by how she totally connected with what she was singing about. It was obvious that her every move was born out o her love or what, and or Whom she was singing about. about. In her role role as a background vocalist she shined and truly led. She was an inspiration not only to the congregation, but to the entire team as well. Then she stepped orward to sing the lead on the nal song o o the morning. I watched as this young woman detly sang this song. She was completely committed to the process o drawing our minds to the message o what she was so clearly proclaiming. She did this without drawing attention to hersel. Her inspiring display o true worship was like a brushre that caught sure and ast throughout the congregation, leaving us to ollow her even as she ollowed ater Him. It was a marvelous example o what a worship leader should be doing. It was clearly not the rst time she had worshiped through the means o that song. Her amiliarity with worshiping was so palpable it heightened everyone’s worship experience. This is something that that can’t be “put on”. She spent time to get to this place. Not time “practicing singing” but time engaged in understanding and owning the true message behind her song. What a blessing blessing or those o us in the congregation, we truly got the experience we were longing or that morning because o one woman’s commitment to becoming the “Ultimate Vocalist”! Sheri Gould has a BS in Mu-  sic Education (Vocal/Choral)  rom the University o Illinois. A church music director (Choir/  Worship Leader) since 1985, she also teaches vocal techniques at various workshops around the country. Send your  questions to: [email protected]

Your one-stop worship resource! 

TIPS FOR TIGHT TEAMS

By Sandy Homan

Sweat it Out, Get it Out! (Once More, With Feeling)

Repeat, repeat, repeat! Isn’t that how we usually prepare a new tune or presentation? We discover a antastic new song then practice, practice, practice until the journey rom discovery to ownership is complete. Once we’ve made that song our own, we enjoy the ruit o it by sharing it with our target audience: those we lead in worship. But what does it mean to “make the song our own” and just what is involved in this journey? Is there such a thing as putting too much eort into the process? Psalm 33:3 says or us to “play skillully  with a shout o joy.”  I sometimes wonder i that joyul shout isn’t just the result o having nally gotten the song right. It takes determination, repetition and sometimes even re-education to make a song our own. We may deeply desire to sing or play a new tune only to nd out that it is technically way out o our reach, at least or the moment. That’s when our “worship work ethic” must kick in. The question is: are we we willing to “sweat it  out ‘til we get it out?!” I bet you answered a resounding, “Y “Yes!” es!” ONCE UPON A SLIDE Back in the 70s, I had the shocking pleasure o hearing an unknown-to-me guitarist named Leo Kottke. It was a late all Friday evening in 1973 and I was a bored teenager looking or some kind o entertainment. As I wandered the campus o UNC in Chapel Hill, North Carolina, I happened upon the university auditorium and peered into a side window. There on the stage was a single bar stool surrounded by three guitars. They were six and twelve string acoustic guitars to be exact. Being predisposed to a much heavier rock music style in those days, my rst thought was, “Oh, this is gonna be a yawn. It’s probably just some lame olk singer I’ve never heard o…” Boy, was I wrong! Thankully my curiosity got the best o me and I stuck around to nd out or mysel. To this day, still no regrets! What a mind blower o an evening it was! As the very rst grand piano sized chord burst out o that humbucking pickupequipped twelve string guitar in Leo’s hands, my musical paradigm changed orever. Whoa! I just sat there or two and one-hal hours, jaws dropped, eyes popped. I was totally bedazzled and mesmerized by every note and every phrase o every song! This was musically light years beyond anything I’d ever seen or heard. I began to eel that I desperately

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wanted a piece o that action. I wanted to hear those kind o sounds emanating rom my axe. Was it doable? Could I ever learn to play at that level? Even though I could see and hear him with my own eyes and ears, I couldn’t begin to imagine what kind o technique would make such an astounding perormance possible. It was an incredible demonstration o just how much music could come rom a single guitar in the hands o a master! I was hooked rom that evening on, determined to gure out how he did it, then do it mysel, to the best o my ability.  WORKING TOO HARD?  Just how much sweat was it worth? How long should it have taken me? A month? A year? How about ve years?! Five! Five years later I had nally polished ONE Leo Kottke song (“Vaseline Machine Gun” rom the Takoma Records release: “Leo Kottke, 6 & 12 String Guitar”). Alright now, don’t be such a “hater.” You’re probably thinkin’, “Sheesh, Sandy must be a really  slow learner.” It wasn’t that at all. It was just that I had so much to learn, and all by ear no less! First, I had to discover that Leo Kottke was playing in an open tuning instead o standard. This was totally new territory or me. He was pitching his strings to D-GD-G-B-D instead o the usual E-A-D-G-B-E. Can you imagine what this open tuning did to all the chord ngerings I’d ever learned in standard tuning? Right. I had to re-learn ngerings or every chord. Then there was the nger picking style. I’d never even tried that beore. Now instead o holding a triangularly shaped plectrum (pick) in my right hand and strumming down-up-down-up-down-up, I had to put these awkward little plastic picks on my right hand ngers and attack the strings with each, just one string at a time. Even though I’d been a strummer since the age o ve, or months it elt as i I’d never even played the guitar beore! And there was still one more technical hurdle to get over beore I could actually begin practicing the song itsel! (Was I determined? Yes! Are you?) Leo oten plays with a bottle neck slide  on his let hand little nger. This allows him to slide rom ret to ret (in open tuning) and play a major chord voicing in each. I got a wine bottle and cut o the neck. I smoothed the sharp edges and put the slide on my little nger.. It hurt! I practiced with it in spite o nger the pain. It hurt some more. I gradually built up the strength and coordination

required to have it sound clear and glide smoothly as I slid up and down the retboard. Whew, done! Ater only ve short years and lots o re-education, I was playing Vaseline Machine Gun and smiling all the way through. (Wouldn’t  you?) From a worshiper’s point o view, was it worth it? Again, a resounding, “Yes!” You gotta sweat it ‘til you get it! And once  you’ve got it, every ounce o eort you put into improving your vocal or instrumental skill pays o in easier song execution and removal o distractions to those you lead in worship. In addition, it’ll give you tools to make your song arrangements more interesting, diversied and personalized to your  style. So what i the song we’re learning isn’t even a worship song. No worries. Each new-ound technique can be applied generously to worship song arrangements. Even open tunings, unique chord ngerings, nger picking patterns and yes, bottle neck slide can be applied to enhance the worship experience. The only ingredient missing is your own imagination. Let it run wild! ONCE MORE WITH FEELING Indeed, to learn the tune we must repeat, repeat, repeat. But along the way let’s remember to invest all those repeats into techniques which are ar beyond our present skill sets. Don’t be araid to aim high. Stretch your abilities so ar that they may never return to the comort zone where you started. Even i it takes us ve  years to move to the next level, we should never  give up! Romans 12:1 tells us that being a living sacrice is our reasonable act o worship. What a sure re sacrice it is to work with all our might to improve our musical/worship skills in order that we might be the best to bless! Sweatin’ & gettin’! Sandy Sandy Homan serves the  Grace Community Church in Santa Fe, NM, where he is the  Minister o Worship Arts. Hear  his latest nger picking guitar  tunes at: www.WorshipWorksMusic.com

PAUL BALOCHE New Seasons New Songs Same Love by Aimee Herd We all walk through dierent  times and seasons in our lives, and their impact on our hearts can be expressed in many dierent  ways. In the case o a musician musician or  songwriter,, those experiences are  songwriter usually communicated in the orm o lyrics and melody. melody. However, amid the context o a rapidly  changing world, there is always one constant: God’s love. This is the backdrop or Paul Baloche’s new record; “The Same Love.”  Paul shares rom the heart about  the album, riendships, and what  he’s learned along the way way... ...

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  Aimee Herd: Paul, you’ve been worship pastor at Community Fellowship in Texas or over 20 years now, that’s a long time. Paul Baloche: Yes, 23 years.  AH: Can you describe a little o what that journey has been like or you? PB: Well, we came down years ago to work with YWAM and Last Days Ministries, so that’s what brought us to Texas rom Philadelphia.  AH: Keith and Melody Green’s ministry. Yeah, we actually lived in PB: Melody’s motor home or a ew months until a mobile home opened up on the property. I started plugging into the church down the road; just helping out, playing guitar, doing kids church and   youth worship, or whatever the need was. Ater a ew months the pastor asked me to lead a ew songs. I hadn’t really done a lot o that so it was a little l ittle reaky, but I stepped into it with ear and trembling. (There were a lot o talented musicians there back in the day and I thought they would kick me out o town!) But, my pastor was really encouraging; he’d say, “Oh you’re a worshiper. You have

 AH: And one o those threads o relationship that has been developing or quite some time is with Bruce Adolph, Matt Kees, and the Christian Musician Summits (CMS) and events, where you’ve been a solid teacher and worship leader at so many o them. This past November, you received the Roby Duke Creative Lie Award at the CMS in Redmond, Redmond, WA. WA. What did that So, that that was the beginning. beginning. I would mean to you? meet together in the mornings with the piano player—Ed Kerr—we’d make PB: I’ve known Bruce and Matt coee, open up the Bible and just or over 10 years, back when they were just thinking about starting the spend time writing songs. magazine and doing a conerence. So  AH: It’s amazing how long some or me, I was honored that I remember o these musician and ministry the beginnings o the magazine, and it relationships have continued over the made me happy to think o all the years  years; Ed Kerr, Carl Albrecht... we’ve been riends—that’s what the plaque represented. ...Y ...Years ears o locking PB: Absolutely. There have been a arms with good riends and trying lot o milestones around relationships to make an impact in that part o the lately; this year I’ve been married 25 country. It was un to think back on that   years, ministry or 20 years, same journey and how God has blessed the manager or 12 years... ...Threads magazine and blessed that event, and o riendships and relationships like I always thought it would be. I’m grateul or all o them. the heart o a worshiper.” I was like, “I do?!” It wasn’t slick or put together well, but he was a guy that thankully saw something in me; saw my heart. Thank God or people who are older in the aith who can kind o see things in people and call some o those gitings, which we might have never discovered i it wasn’t or their nurturing.

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PAUL BALOCHE: New Seasons, New Songs, and the Same Love - by Aimee Herd

PB: “My Hope” was written with Ed Kerr. Kerr. It’s one that I really believe in the message. These are turbulent times in our nation, and in the world. A lot o olks, even in our church, are losing jobs, and there is a lot o insecurity about the uture.

continued

That’s on the macro level, and then on the personal level, I eel like it’s saying, the same love that turned my lie around when I was 18-years-old—playing clubs at the Jersey shore, and then “boom,” just having this encounter with God that changed my lie, and that o a bunch o my riends over that year—that same love is the love that is still compelling me to live or Him and to walk out my aith.

 AH: Not to mention  AH: Paul, you mentioned a couple the people who think o the singers and musicians who have the world will end ater contributed to this new album, but I know there are others... 2012... Paul receiving the Roby Duke Creative Lie Award rom Bruce & Matt at CMS Northwest 2011.

also that I had a chance to know Roby Duke. He was such an inuence on my my wie and I early on. I met Roby Roby back in the mid ‘80’s—I was going to Grove School o Music in North Hollywood. I was inspired by Roby’s playing and his ministry. ministry. So, [the award] was quite an honor.

PB: Right! And i it is, then our hope better be in the Lord. The lyrics in “My Hope”; “nothing will change i all the plans I make go wrong, Your love stays the same, Your light will guide me through it all...” I just really believe in that message, and the icing on the cake was having Kathryn Scott sing on it. it. Kathryn has managed to sing a song on each o the last our records I’ve done, so again it’s relationships, riendships... Just like getting to write the song with Ed.

 AH: I want to ask you about your new album The Same Love, can you talk about a ew o the songs rom the project both rom a lyrical and also a Ed and I probably wrote a sonic point o view? For example, one couple hundred songs together (no o the frst songs to really catch my ear exaggeration) back in the day. day. And and my heart is “Look Upon the Lord”. then he moved to Nashville and then Seattle, so we hadn’t written together PB: “Look Upon the Lord” is that in probably 15 years until we wrote kind o deep epic worship song where this song song together. together. It elt strong—like   you’re trying to get into a “Holy o a beautiul thing in the Spirit—to be holies” moment. moment. Interestingly Interestingly,, the frst reunited with him and collaborate line in the song came rom one o again. those “in between” moments at church. (sings) “Look upon the Lord, stand “The Same Love” is a song that really in awe o His beauty, Look upon the summarizes where I’m at. On the Lord...” That’s all we had, so when I got macro: the same love that we read with [co-writers] Kari (Jobe) and Jason about in the Bible is calling us by Ingram, the rest o the song just kind name... and the same God who was o spilled out. Musically speaking, crucifed is calling us all by name... we tried to keep it more reverent.... but “You call the cynic and the proud...” I how would you describe it? was thinking about how there is a spirit o cynicism and jadedness, outside the  AH: Well, I don’t hear a lot o songs Church but also in the Church, there’s that use the duet style o singing in such a spiritual battle against the unison, but with an octave in between— Church. But what I eel like I want to say it’s a dierent sound and it works well to those who are cursing the Church on that song. and cursing God is that His message PB: Yeah, I wanted it to eel less like a to them is: “Come to Me, I see why duet and more like co-leading worship.  you’re mad and disappointed and why  you’re hurt. But, come to Me anyway.”  AH: What about the song “My I believe He’s calling them personally, by name, i they would just open up Hope”? their hearts ever so slightly...

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PB: Some are people I’ve met along the way and have asked, “Hey, do you want to write together?” On the song “Oh Our Lord”, (sings) “Ohhhhh our Lord, how majestic is Your name...” that’s with the band All Sons and Daughters. They lead worship in Nashville, and they’re also on Integrity Music; they wrote and played on “Oh Our Lord”, and also “King o Heaven”—which is an intercessory, prayerul cry or God to reveal Himsel. My avorite songs on this album would be, “The Same Love” (written with Michael Rossback, my bass player and keyboardist), “King o Heaven”, “We Are Saved” (which I co-wrote with Ben Fielding and he also sings on it with me), and “All Because o the Cross” (I wrote that with my guitarist Ben Gowell). Michael Rossback and Ben Gowell coproduced the record. I wanted wanted these these guys to push me—they’re in my band, they know me well, they’re young guys who are really talented, and I respect their gitings—I really wanted them to push me vocally and musically musically.. ...T ...Too keep me rom going to some o the places (in a musical way) where I would always sort o go.

 AH: That shows a lot o trust in those guys on your part, that you would let them direct you in that way way.. PB: Yeah, and I wanted to just do the production o the album with the band that we always play together as. I didn’t want to go to Nashville and get a big producer... We travel as a band—we’re like a band o brothers! Every time we go out to minister it’s like

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PAUL BALOCHE: New Seasons, New Songs, and the Same Love - by Aimee Herd

a men’s retreat or us.

 AH: That’s awesome. PB: It is. We like to go out and serve, and we’re usually involved in teaching—we rarely do a “concert,” it’s usually a couple o hours o worship, and the next day: teaching a bunch o classes. And when we’re done, we like to just hang out, share lie and be accountable to each other. It’s been been a really good, healthy thing or all o us. So we said, “Let’s make a record, we know how to do this!”  AH: Does Rita (Baloche) travel with  you on the road, or does she mostly just work on the recordings with you? PB: It’s evolved over the years, I eel like there should be a disclaimer because people ask me all the time, “Where’s Rita, why isn’t she singing on this?” I’m like, “Y “You ou should ask her !” !” (Laughs) A couple years ago—we’d

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continued

done so many series I did was almost 10 years ago records together— now. There are a lot o new things she was deep that I eel like I’ve learned and wanted into the “mom” to pass on. They’re just basically stage and told how I eel about songwriting, leading me, “Look, I don’t worship... each o them are over two need to do this hours long. People can watch a promo or my ego, why or each one at the website. don’t you get some resh voices  AH: In all the workshops in which on your record?”   you’ve taught, are there one or two So, it started with things that always seem to come up, Kathryn Scott and and get mentioned as the most common Sara Groves, and challenge or a worship musician or over the years . songwriter to overcome? And i so, . .just dierent how do you suggest they overcome voices. And yet, that? Rita is totally involved behind PB: That’s a good question... The the scenes; she’s a frst thing that comes to mind is that great song editor, people have a challenge just getting and she’s my their congregation to sing—to get them one-size-fts-all vocal producer. involved. There’s not a one-size-fts-all solution, but a lot o it requires getting on Nobody can  your ace beore God. I highly suggest produce vocals (like her). For doing that in the sanctuary (during the example, when week or prior to the service), walk your   you’re in thatsanctuary and pray or the people there vocal booth, she that you serve, and or the people who in those chairs. chairs. Really get can hear i you’re will be sitting in uptight or trying them in your heart. too hard, so she’s When Jesus looked over Jerusalem, a big part in that. Scripture says that He wept because o As ar as being His love and compassion to see these on the road, she’s people overcome, rise above their like, “Y’know, circumstances and connect with the   you have a good Father. So, I’ll tell people to start there. thing—you and your guys...” She’ll There isn’t a one-size-fts all “spiritual come maybe a third o the time, but tube sock” that’ll ft every situation, it wasn’t something that was practical but God will give you ways to inspire at least in the last ew years because worship. You don’t don’t want to guilt or somebody had to be home [or the manipulate them into worshiping. worshiping. And kids], we couldn’t both be away. away. But it’s also important or you to spend time now we’re kind o hitting that “empty during the week, maybe you and a ew nest” thing so that could all change. core members o the team, worshiping  AH: In addition to the new album, and singing to the Lord in private. So   you’ve also got three new teaching then on Sunday morning, it will eel like DVDs out, what are they teaching on? an extension o that—just an overow o something that’s already been week. Then PB: One is songwriting, one is happening earlier in the week. leading worship and the other is a i you’re patient, eventually, people will worship band workshop. People can begin to ollow you. log onto www.leadworship.com to see them and or more inormation. They’re  AH: And, while you’ve taught in almost like a “last will and testament” these workshops, and ministered to on teaching worship leading (laughs)... people, can you share a time or two that you’d say was a very rewarding  AH: Not planning on going anywhere moment you’ve experienced within that context? soon, are ya?

PB: (Laughs) No, no, but that other

Continued on page 34

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