Professional Documents
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Product Review
Line 6 StageSource L3t Powered Loudspeaker
Product Review
Eastwood Airline Tuxedo Guitar
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MercyMe Tenth Avenue North The Welcome Wagon Matthew Perryman Jones The Choir
Selective Hearing
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Singer/songwriter Brandon Heath shares his thoughts on creativity, craft, and his musical mission. Theres also a special Q&A with Dan Muckala, the producer of Brandons Grammy-nominated album, Leaving Eden.
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In-depth, down-to-earth articles help volunteers, pastors, and worship leaders to understand the ins and outs of the latest in worship sound technology.
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RSS V-MIXING SYSTEM
Introducing the easiest way to find exactly the right case for your gear!
Customer-favorite
>> Roland
JUPITER 80
349900
More info on pg. 104
Take a look at the instruments weve highlighted in this guide, including Rolands BK-5, the affordable Casio Privia PX-830, and the piano-likeWorship Kurzweil PC3K8. Youll also want to check out the Nord C2D.
Keyboard
Picks
Roland BK-5
The Basics of
Dropout is just as bad as feedback. Even intermittent dropout can ruin an otherwise wonderful service. An unbroken line of sight between the transmitter and the receivers antennas is ideal, but seldom is that possible. More times than not, the wireless signal must rebound off of walls and other surfaces to reach the receiver, and that increases the risk of dropout. If you put a bodypack transmitter in your back pocket, the signal (unable to pass through you) will have to find an alternative path to the receiver. So, to minimize the risk of signal dropout, keep your bodypack in your front jacket pocket. Another major problem is broadband noise and radio interference. If your church is in a city, chances are that an inexpensive entry-level wireless system simply wont work for you. The same precision technology responsible for the high simultaneous channel count common to most high-end professional wireless systems is responsible for shutting out noise and radio interference. Digital wireless systems, which reject noise and other nondigital signals out of hand, are excellent cost-effective alternatives to traditional wireless systems. All professional wireless receivers are true diversity receivers, which means that they use two independent antennas. That way, if the wireless signal doesnt reach one antenna, it can still reach the other. Quality wireless receivers have antennas that twist off, allowing you to mount them on stands and spread them out. Separating your antennas vastly increases their effectiveness. Even spreading your antennas out just a few feet and moving them away from your other gear will vastly improve your systems performance. Also, if you have a multichannel wireless system, you may also need an antenna distribution system, which will allow you to connect only a single pair of antennas to multiple receivers. Whether your future wireless system is a single-channel, single-speaker setup or a larger system for the whole worship team, it should effectively and accurately spread the message. Unfortunately, many budget-priced wireless systems may make it difficult and unpleasant for your congregation to hear that message. If the number of quality wireless systems you need is beyond your current budget, practice wise stewardship and save your money until you can afford the system that your house of worship deserves. There are excellent single-channel wireless systems that you can start with and expand later. Your Sweetwater Sales Engineer will be happy to help you find the right system for your church.
pment lease at
INTRODUCING
d the Pastor
KEYBOARD
Whether youre looking for a simple instrument that just plays and sounds like a real acoustic piano, or youre seeking a powerful centerpiece for all your worship teams ambitions, theres a digital piano thats right for your church. To help you zero in on the perfect keyboard for your needs, lets take a look at the different kinds of keyboards available, as well as the important factors youll 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, youll want to select whats 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 pianos 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, todays 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 youre 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.
Ideal for Contemporary While streamlined, piano-like instruments are ideal for a number of $ 00 Worship Songs worship leaders and church pianists, many other houses of worship rely on More info on pg. 104 keyboards for much more than just piano sounds. In fact, if youre a pianocentric 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. Kurzweil PC3K8 ennheiser $ 95 Its very similar to working with audio editing and production software, only>>Sennheiser Amazing Feel and $ 00 youre not tethered to a computer and you can easily play these backing EW 335 G3Piano Sounds info on pg. 20 More tracks right from your keyboard during services. And even if you do have More info on pg. 98 Churches across the country swear by a complete worship band, you can use a workstation to add a few choice this pro-level UHF wireless system! 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.
999
Building a Mix
Its bound to happen at some point: the mix disaster. Maybe your churchs regular sound person calls in sick at the last minute. Maybe the new volunteer sound person doesnt know a volume slider from a sliding door, or a mixing board from a mixing bowl. Whatever the circumstance, something has to be done to save the service. Without decent sound, the congregation wont be engaged or inspired by the music, and the message may be completely lost.
Though creating the perfect sound mix for a service is a true art, a sound person with little or no mixing experience can still achieve good sonic clarity and deliver the message with pleasant and effective audio. Here are some tips for saving the day with a quick, last-minute mix whether you are working the sound booth yourself or have the help of a volunteer. system may not be perfect forewarning the team that everything may not be ideal will go a long way toward easing the process for everyone. At least they will know what to expect!
STAGESCAPE M20D
249999
More info on pg. 31
849
3495
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.
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 doesnt speak at once and adjust the auxiliary sends accordingly.
1. Action
Performance Ready with If you dont need the all-out power of a workstation, but youd still like a $ 00 Powerful Features handful of cutting-edge capabilities maybe built-in drum patterns for More info on pg. 97 rehearsals and a lighter sequencer for a quick songwriting sketch pad there are a number of options that fall somewhere in between the two categories weve already mentioned. Instead of choosing an 88-key option, which has the same number of keys as a full piano, you can select a 76-key (or smaller) version. These instruments trade a slightly reduced range (many Nord C2D keyboardists never use the highest and lowest keys anyway) for lighter 00 Wireless Breaking Through thebe a$little daunting at first. But dont worry, wireless systems technology can Price/Performance Barrier weight and a more portable form factor. You can still get fully weighted keys More info on pg. than ever before. Most wireless systems set on a 76-key piano, or you can choose a semi-weighted version that works well much easier to understand today103 are if you perform a blend of classic and modern instrument sounds, rather than themselves up for you, and once youve set them up, you dont need to touch them strictly piano.
Worry-free 3799
Korg Kronos 88
13. Dont try to overtune the mix, and dont 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. Its easy to lose perspective and get lost in knob turning, even though the goal has already been achieved.
WIRELESS
3485 2399
Casio Privia PX-830
The Look and Feel of an Acoustic Upright Piano
4. Turn it on.
Turn on the speakers or the amplifiers last; this prevents loud thumps and pops from coming through the system.
1. Keep it simple.
Unfortunately, mix emergencies rarely occur when you have loads of spare time to work on a solution it almost always happens minutes before the service is supposed to start. While your sound booth may have racks of processors and sophisticated audio equipment, now is >> Line 6 $ 99 not the time to experiment with effects or to randomly XD-V35 More info on minimum you start turning knobs. Focus on the barepg. 19 An affordable digital wireless the special need to get the job done. Leave system such effects for as time. another this one provides reliable performance.
Do you want keys that are weighted to feel and play just like an acoustic pianos? Or do you want keys that glide beneath your fingers so that you can easily play synth and organ parts?
nths
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.
Increasing in popularity are keyboards that feature a built-in microphone again. Heres a simple overview of wireless microphone technology, how you can put input. These are perfect for the performing worship leader and great for it to work in your church, and how to avoid some common pitfalls. scaled-down youth services. The vocal microphone goes right through the There are keyboards output, so youll need to amplify only one signal. Better yet, Yamaha S90 XS two basic types of wireless transmitters: handheld units and bodypacks. Handheld units combine a microphone and a wireless transmitter into one device. there are professional vocal effects built in, so you can refine the vocal sound Perfect Blend of Ease of $ 99 They without having to purchase an extra piece of gear. Use and Deep Features are extremely convenient for worship leaders, and even some pastors prefer them because info on pg. 96 move a handheld microphone away from your mouth if you More you can Dont Forget About Realistic Organ Sounds need to cough. Wireless handheld microphones are also less susceptible to dropout, because the transmitter part of the The organ is still a very popular instrument for worship services. And while unit naturally points out toward the receiving antennas. most of the keyboards we carry feature a built-in organ sound, you can get that organ-playing experience complete with drawbars by choosing a dedicated instrument for the task. Have more questions? Our Sales Engineers are here to help you choose the best keyboard for your churchs goals. In fact, what you see in Worship Sound Pro is just a small sampling of the many keyboards we have available. Give us a call today at (800) 2224700.
299
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.
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4700
5. Appearance
How important is it that your churchs keyboard resemble an acoustic piano? Do you want an integrated stand, or would you prefer to use a more portable stage-style keyboard stand?
Bodypack transmitters allow you to plug in a lavalier microphone or a guitar cable, giving you both wireless and hands-free convenience. If you are going to use a lavalier microphone, youll most likely want to choose one with a cardioid (unidirectional) pickup pattern rather than one with an omnidirectional pattern. Cardioid lavaliers reject sound that doesnt enter them directly, making them less likely to create feedback. Just remember this: no matter how much freedom wireless microphones give you, you still cant walk in front of the loudspeakers without causing feedback.
>> Shure
>> AKG
DMS Have a conversation with the worship team. 3. 70 More info on pg. 22
This inexpensive digital wireless system Explain to everyone that the regular sound person is not is a real performer onstage!
39900
available and that help is required to have the service go well. This means guitarists need to turn down, drummers need to control volume, and so on. Explain that the monitor
ULXD4
STUDIOLIVE 24.4.2
329995
More info on pg. 28
We'll help you set up a system that fits your church's needs perfectly!
EW
Online
101 Guides
With valuable advice on live mixing, miking techniques, instruments, and more, our informative guides give you the tips and tricks you need to make your services sound better.
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Heres the best way to learn, rehearse, and perform todays top Christian music! Get complete backing tracks and practice mixes, charts, and more.
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Combining 40 years of professional analog expertise with 25 years of digital innovation, Yamaha marks the birth of a new class of compact consoles. With sonic superiority from preamp to output, MGP-Series delivers a game-changing level of audio performance and functionality.
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Features
Craigslist Bounce
I go though cycles where I watch the local Craigslist musical instrument category closely, and then Ill forget about it for a few weeks. I often chuckle to myself when I see old gear that wasnt that well made 20 years ago and some folks are asking a lot of money for it still. But I usually approach reading the listings with a sense of hope that maybe some good item will bounce my way that I would like to own. Im not living in fantasyland hoping for a 1959 Gibson Les Paul for only $200.00 or anything like that; but I do feel like sometimes you just might find a treasure. I use the Craigslist app on my iPhone (or the iPad) and I like that better as it shows the photo of the items automatically. On my laptop I have to click on the picture to see it. The other day out of the blue I went to see what was going on, and two or three items into the list I saw a photo of a 1960s Fender Villager 12 string acoustic guitar. The title to the listing was just 12 String Guitar and the price was $300.00, so maybe some folks had passed over it. Another thing that bounced in my favor is that the listing had only been up for twelve minutes. I looked it over and instantly knew what the item was. In fact, Judy and I had just talked about this very guitar the day before. I used to play one, and Fender only made this Villager model for four years in the late 60s (they have recently reissued them but the old ones were made in the US). It is not the best sounding 12 string ever made; but it has a neck that feels like a Stratocaster for your acoustic, and also has a unique tone that I like. The next order of business was to see where the seller lived in proximity to me. That one bounced against us as he was over an hour away and I was leaving town in two days and wouldnt have the time to make the drive to him, as I had a lot to prepare before I left. Rats! I decided to e-mail the seller anyway and ask him a few questions about the guitar. Finding out as much as you can about where the instrument has been and if the hardshell case it came with was original etc. are important questions to ask. Two things bounced our way at that point. I found out that the guy had played the guitar some in church a few times (that was cool), and that oddly enough, he and his wife were driving through Puyallup the very next day to the new car museum in Tacoma. Okay, this was starting to get interesting now. I told him about the magazines and the Summit training conferences we do and he thought that was cool as well. I saw things aligning and said, We need to meet so I can see the guitar do you mind holding it for me and not selling it until then? He replied, No problem. So, with so many things bouncing my way I got the confidence to ask him one more question. Are you looking for anything gear wise right now, because I have a few things I would love to trade for the Villager? To my surprise (and elation) he told me he was looking for a good electric guitar that he could play rhythm on. I had a very nice Samick Avion Les Paul style electric guitar that I could let go for the same $300.00 price. We had a plan now and the next day we met in a public place (another safe thing to do with Craigslist deals- in fact I have sold a number of guitars at the local Starbucks it is just the wise thing to do). I met the couple and they were the nicest folks! I looked over the Villager and it needed some minor work definitely a neck adjustment to lower the action, but with a bolt on neck I knew that one way or another my expert repairman ( Joe Riggio of Ask Joe fame in this magazine) could get this guitar playing great again. The seller really liked my Samick electric so we made the trade straight across. I gave him some magazines to read and a Love One Woman Many Guitars t-shirt (which he put on right there in the parking lot) and we all walked away happy that we had met each other. Wow! Thank you Lord - this one had bounced just right! Bruce & Judy
8 Product Review by Bruce Adolph Eastwood Airline Tuxedo Guitar 10 Bassic Communication by Norm Stockton Developing Your Inner Clock (Part 3) 12 Guitar Workshop by John Standefer Christmas in July 14 Drumming Dynamics by David Owens Classic Shuffles 16 Vocal Coachs Corner by Roger Beale Technical Bulletin #12 - Finding the Right Voice Doctor 18 Show Us Your Groove by Chance Scoggins I Should Have Cared More That Day 26 Selective Hearing by Shawn McLaughlin MercyMe Tenth Avenue North The Welcome Wagon Matthew Perryman Jones The Choir 30 Tech Talk with Phil Keaggy by Bruce Adolph 32 Product Review by Michael Hodge Soundblox 2 Multiwave Distortion and Dimension Reverb
CONTENTS
34 The Indie Mechanics by Keith Mohr & Sue Ross-Mohr ...sing in the ordinary days and ways. 36 The Fretboard Less Traveled by Rich Severson Re-Harmonizing a Classic Hymn 38 Ask Joe by Joe Riggio 41 Guitar From A 2 Z by Roger Zimish Diatonic Forms - Part 2 Lead Patterns 42 Product Review by Doug Doppler Line 6 StageSource L3t Powered Loudspeaker 46 Id Do This for Free by Bryan Duncan
Interview
20 Sixpence None the Richer Lost and Found by Aimee Herd photos by Tec Petaja
4227 S. Meridian, Suite C PMB #275, Puyallup Washington 98373 Phone: 253.445.1973 Fax: 253.655.5001 Email: bruce@christianmusician.com Website: www.christianmusician.com Editor & President: Bruce Adolph Vice President: Judy Adolph, judy@christianmusician.com Customer Service: Brian Felix, brian@christianmusiciansummit.com Street Team: Mike Adolph, Jesse Hill & Winston Design & Layout: Matt Kees Copyediting: Kevin Wilber Accounting: Debi Davis Advertising Sales: bruce@christianmusician.com Published by the Adolph Agency Inc.
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JUL/AUG 2012
PRODUCT REVIEW
of the factories in Korea have been producing. This guitar is no different. It is first class in looks and function. The volume, tone pots, and pick-up selector placement positions is very comfortable. The body is lightweight, and the P-90 pick-up casings give that retro look to the overall vibe of the instrument. I like the niche that Eastwood Guitars has carved out for themselves. They have gone back into the archives of vintage instruments and resurrected many of the popular models of that golden era of electric guitars and they havent just dipped their toes in the vintage waters; they have jumped in the pool with a large line-up of guitars and basses spanning many different builders. I dont know how they can even keep track of all the guitar models they have reissued! The one I selected for our review is the one that turned my head the most however the Airline Tuxedo. This guitar is designed after the Barney Kessel model from the mid 1950s and sold under the brands of KAY and AIRLINE. Original Barney Kessel models now sell for $3,000-$5,000 in the vintage guitar world. The sunburst color looks beautiful and the vintage ascetics give the Tuxedo that dressed up look like from a different era of days gone by. But when I picked up the guitar and started playing it that is where I was captivated. Even not plugged in yet, the semi-hollow body rang out loud. I played it for quite a while before I turned on the amp and was impressed with the tone my fingers alone were getting. This guitar is made in Korea, and you know how I am a fan of the fretwork quality and binding work that some I plugged it into my tube amp and turned it up. Wow! Now we are talking. I really like the P-90 pick-ups. The rhythm position was clear (great for jazz type playing) the middle position (both rhythm and lead pick-ups on) was full bodied, and when I added some overdrive had a great bluesy tone. The back position all by itself was bright, but not brittle. Sometimes on a strat style guitar you dont use the back position because it has too sharp of a tone the Tuxedo had a usable sound good stuff! I kept switching back and forth with the pick-up selector. I rolled the tone knobs back to about 5 each, but it just muddied up the tone so I cranked them back to 10 again and all was right with the world. The hollow body (even with no f-holes) added a roundness and warmth to the tone. I starting hitting the guitar more forcefully with my pick and played more through the dynamic range. The rhythm pick-up was responsive to my hard strumming, and it made me like this guitar even more. I ran through a few riffs and also cranked up the overdrive on my tube amp. Good raw power and sustain. The sustain didnt go on for days, but it had a good presence to it while it lasted, and I didnt hook up my compressor pedal to it so that might be a mute point. I ran through a few more tidbits of tunes on
the middle position, and that just enforced my opinion of why I like P-90 pick-ups so much. You really can get a good variety of tones from this guitar. When you combine its welldone fretwork, good retro looks, and overall tonal options you come up with a winner!
Here are the specs: Body: Hollow-body, Maple Top, Back, Mahogany Sides Neck: Set Neck - Bound Maple Fingerboard: Rosewood, Block Markers Scale Length: 25 1/2 (648mm) Width at Nut: 1 11/16 Pickups: Two Custom Hi-Output P-90s Switching: 3-Way Controls: 2 Volume, 2 Tone Bridge: Trapeze Tail, Tune-O-Matic Bridge Hardware: Vintage Style Open Back Tuners Strings: DAddario #10 Case: extra Unique Features: 1950s AIRLINE Coat of Arms logo on Pickguard Suggested Retail: $1099.00 US Street price around $849.00 or so. www.eastwoodguitars.com
JUL/AUG 2012
CHRISTIANMUSICIAN.COM
Great guitar players in history all had that one foundational element they built their careers on:
We can help you develop yours.
Living Tone Amplification was born out of a love for great tone. We at Living Tone have our history both in professional level live sound reinforcement and in playing contemporary worship settings. With experience on both sides of the coin, we have a unique vision and approach to amplifier design. We know guitarists are challenged with having to cover a wide variety of tones and styles of play, especially on the worship stage. From the large stage, stadium-style venue, all the way down to the small stage; our offerings cover the rigorous demands of todays worship guitarists. Yes, even if you find yourself on a small stage, you can still enjoy the beauty of true vintage tube tone at reasonable levels. These are all factors we have taken into consideration in our designs.
At Living Tone we build British and American-style vintage, point to point, guitar amplifiers with top-shelf components for maximum playability and tonal enjoyment on the stage, in the studio, or at home. We feature modern refinements in these vintage-style circuits, including a variable wattage system, and our own custom hand-wired A/B/Y pedal with tuner mute. This pedal opens up the vintage architecture of the two channel amplifiers to make them more useful on stage. The old-school, two channel, design also affords us a unique opportunity for some custom voicing to accommodate the unique demands we face on the worship stage.
For those of you who dont have a lot of experience reading rhythms, feel free to spend a moment getting the exercise in your Make sure to tap your foot on the quarter head and under your fingers without the click. notes and assimilate both the tempo and how Once youve assimilated it, play it with the the various subdivisions feel over those quarter Bassic Stockton is a bassist/ Norm Communication metronome. Developing Your Inner based in notes. Ensure your foot doesnt depart from clinician/solo artist Clock (Part 3) Orange County, CA. Recently As before, we have our two rhythms for the those downbeats, regardless of the rhythmic departing from his long tenure Metronome Clicks on quarter notes Norm Stockton metronome, or click, in the top 2 staves. The figure being played or metronome figurequarter note) as bassist with Lincoln Brewster, (Tap foot on each used. first one is really straightforward, clicking on Were still working with ghost notes, so Norm is focusing on equipping each quarter note (1, 2, 3, 4), while the 2nd just mute the strings with your fretting hand bassists around the world through Metronome Clicks on beats staff reflects the click hitting just the backbeats and pluck as normal. Ghost notes are perfect2 & 4his new instructional site (www. ArtOfGroove.com), as well as (Keep tapping foot on each quarter note) it should feel like playing to a drummers here, as the click should disappear when youre freelancing (including upcoming tour dates with Bobby snare drum. Kimball, former lead singer of Toto). Also visit Norm at locking with it. Play through Exercises 1 through 10 with the Record yourself repetitively playing these Exercise click playing those quarter notes at 90 bpm exercises and listen back critically 1 flams. for
www.normstockton.com, Facebook and Twitter.
1. 2.
3 3
3 3
Exercise 2
Norm Stockton
2.
Metronome Clicks on beats 2 & 4 (Keep tapping foot on each quarter note)
Exercise 3
Exercise 4
3 3
Exercise 1 1.
3 3
Exercise 5
Exercise 6
3 3
Exercise 2
10Exercise 3JUL/AUG 2012
CHRISTIANMUSICIAN.COM
Christmas in July
I learn tunes and develop a lot of arrangements these days for my local students and for my Skype clientele. I have one Lutheran student who is always working on accompaniment and solo arrangements that he can use at church. One of the pieces that comes up fairly regularly on his Sunday morning set list is Canticle Of The Turning. This is generally considered a Christmas song, but is really appropriate year round. The melody comes from the traditional Irish classic, Star Of The County Down and is usually performed a bit more up tempo. I arranged a nice little solo of the piece that sounds better slowed down a bit. The original key is Em but it plays better in Am. So, I simply wrote it in Am (capo 7). This way it can be played in the key that people sing it in and it also sounds old and quaint in that pitch range, which goes along with the time period the tune comes from. In measure 3, just scoot the 1st and 3rd fingers up for the two chords. Then stay in that vicinity for the next measure, trying to keep as many notes as possible sustaining. A similar phrase also happens at the end of the song. I like the sound of arpeggiating the chords in this piece. Instead of plucking the notes of each chord all together, I slightly separate the notes but rolling off with my right hand from lowest to highest note. I hope you enjoy this little offering and perhaps, if you arent familiar with the song, research the lyrics and consider adding it to your church repertoire. - JS (Also be sure to check out the store page at www.johnstandefer.com for more TABs, educational books & videos and for Johns great collection of audio CDs)
Check out Johns 5-DVD set Praise Guitar Lessons at the store page at www. johnstandefer.com. You get 52 video lessons similar to these CM articles, but you can see and hear the lessons! Includes charts. Also consider private lessons with John via Skype!
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JUL/AUG 2012
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Calling on over 50 years of rock n roll know-how, VOX has created an entire line of captivating guitars that are at once timeless in appearance, yet totally up to date. Experience the comfortable contoured body, expertly-voiced CoAxe pickups, analog circuitry, and solid MaxConnect bridge. Re-discover your voice in a new VOX guitar.
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Classic Shuffles
I have been looking at half time shuffles in the last few offerings, so I thought I would share with you a few real gems. These three half time shuffles are all classics and should be a part of any drummers vocabulary.
at http://www.youtube.com/watch?v=puEVs4 I hope these transcriptions will inspire you. g6qyk&feature=relmfu or go to YouTube and The shuffle is a feel that all versatile drummers The first is by one of the finest drummers type in Bernard Purdie shuffle pt. 2. need to master. ever. John Bonham was a huge influence on me The last groove is one of my favorites and is Blessings, as a kid. My first vinyl record was the first Led undoubtedly one of the coolest drum parts Zeppelin album. I wore the record out trying ever created. Rosanna was a huge hit, and David to play along with it. Jeff Porcaros groove is a major part of why this You can hear Bonham playing just the drums from Fool In The Rain off of Physical Graffiti by going to my web site at www. davidowensdrums.com. Type Bonzo Shuffle in the search engine and press enter. His playing is fabulous and his drums always sounded amazing. He was truly a master.
David currently tours with Fernando
lighter touch, but his feel is just as infectious Jeff played at the very top of the song. The bars as Bonhams. after that are what he plays in the verses as the You can watch Bernard Purdie play this groove song develops.
song is so fun. I have been told that Jeff played Ortega and has worked with Sara the groove for the band and the song was Groves, Bebo Norman, Crystal written around what he played. It is a challenge Lewis, Cheri Keaggy, Tommy Walker, for any drummer to make the Rosanna groove Paul Baloche among others. He has feel right. In fact, listen to many of the old played for Billy and Franklin Graham Toto tracks. Jeff Porcaro had a way of making a Crusades, Harvest Crusades, Maranatha Worship Leader complex groove sound simple. I think he was Workshops and for over 2 years he was the house drummer The second is a Bernard Purdie shuffle way ahead of his time and is one of my all time for the Los Angeles production of The Lion King. His home favorite players. from the song Babylon Sisters off of Steely church is Plymouth Church in Whittier, California. Dans Gaucho CD. Bernard plays with a much The first two bars I have transcribed are what
www. DaveOwensDrums.com
3 3 3 3
John Bonham
3 3 3 3
3 3 3 3
Bernard Purdie
3
3 3 3 3 3 3 3 3
Jeff Porcaro
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Another type of examination is called video stroboscopy. This involves the synchronization of light through the flexible or rigid scope to visualize the rapid vocal fold activity of the singers voice. Video stroboscopy is helpful for diagnosis of many vocal disorders, but is Speech-language pathologists are well trained not needed in every case. to care for problems related to communication If further help is needed the singer may disorders. These problems can range from schedule a voice examination by a speechstuttering, delayed speech development, language pathologist. During this type of and swallowing difficulties. Many, but not all, evaluation, an analysis of vocal quality and speech-language pathologists also receive voice limitations is done, in many cases training in voice disorders and their care. Some with the assistance of software diagnostic are given to calling themselves vocologists. tools. This computer analysis may consist of But this title is not widely accepted and acoustic, aerodynamic, or spirometric analysis. recognized. Acoustic analysis involves testing pitch, stability, It is very important to find a speech-language pathologist who has training and knowledge of voice disorder treatment. One who is experienced in working with vocal patients, and knowledgeable in this field. When seeking out a speech-language pathologist for voice therapy the word well-trained cannot be overemphasized.
Many of his students have won prestigious vocal competitions A medical evaluation of a singer with a voice and scholarships. In addition, problem includes a review of his voice use he has worked with Grammy and Dove award winners and history and medical history. An ear, nose, and nominees. He also offers vocal clinics and seminars, throat examination will include the entire head as well as assistance in recording sessions. Roger is and neck region with specific emphasis on the an adjunct professor in the Fine Arts department at throat and vocal folds. Point University (formerly Atlanta Christian College), website: www.point.edu. Many times a first viewing of the larynx will Roger can be contacted at: The Voice House, PO Box be performed by the use of a mirror placed in the back of the mouth that reflects light down In an attempt to find the right voice doctor 87136, College Park, GA 30337, (404) 822-5097, onto the vocal folds. This old and traditional for your specific needs, let me suggest that e-mail: voicehouse@mindspring.com, web site: www. thevoicehouse.com.
variability, and the intensity of the voice. Roger Beale is one of the nations foremost vocal coaches. He presently works Aerodynamic analysis involves the recording with professional singers in all of airflow, as well as air pressure from the areas of musical performance. throat during vocal production. Spirometric His teaching and coaching analysis involves a measurement of the amount facility, The Voice House, is involved in the management and of air used by the lungs during inhalation and care of the professional voice. exhalation. There are many otolaryngologists and speechlanguage pathologists who work together, alone, or with other voice care professionals to form a voice care team. Not all singers need to be examined by the most sophisticated level of these voice care teams to receive proper care and treatment; but it is calming to a working singer to know that is out there and available to them.
method is rarely adequate for patients with there are five recognizable components found 16 JUL/AUG 2012 CHRISTIANMUSICIAN.COM
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It taught me a valuable lesson. You never know when your work will come back to help or hurt you. You never know where or how it will show up in the future. Is it enough to slide by or should we be driven by an inner standard, calling us to give the best were It started an important internal conversation capable of? Sometimes our employers dont Id love another pass at that vocal, but in a way know how to lead us to our best but does Im glad I cant get one. I think everything I ever that began with thoughts like that mean they dont deserve it? do will be better for it. They shouldnt be able to use that on other We spend a lot of time thinking and talking projects! about our calling. The deeper into life I get, If Id have known so many people were going the more I realize that my calling isnt about an to hear it, Id have asked to sing that line again. ultimate purpose so much as its about a daily I sure wish people could hear something that something to do. Our destinies are rarely tied Chance Scoggins is a Dove to some grand and final event yet to come. This matters to me instead of this. Award Winning Producer, is a lie we tell ourselves, so we dont have to as well as one of Nashvilles Nobody knows I did that so quickly. Theyre fully engage today. top session singers and going to think thats my best work. vocal arrangers. If you were If you woke up tomorrow knowing that it (In my most whiny voice) Its not faaaiiir! challenged and encouraged would be the day youd accomplish the thing by this article, check out After all of my excuses and accusations, I you were born to do, how might your actions www.chancescoggins.com eventually arrived at the simple truth Its differ from normal? Lets say you didnt know for more of his observations my fault. I should have cared more that day. when or where, but you knew for sure that at about life, faith and music. Truth be told, I was phoning it in. I was some point tomorrow, youd do something that punching a clock, just doing what was in front of would turn out to be important, something that my face, unaware that I was creating something only you could do. Imagine the energy and that would eventually matter. If Id known effort youd put into the each detail of your day. Imagine how youd approach your work - the
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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 gments of our imagination are the property of their respective companies. Lets get this settled once and for all: Hillbilly Handshing is NOT lmed in Louisiana.
sixpence none
Maybe youre one of those who has been a Sixpence fan from way backyou love the uniqueness of Leigh Nashs vocals and the catchy writing, creative melodies, and solid guitar of Matt Slocumand youve hoped that someday they would reunite and make some more music. Guess what? Sixpence is back with all that made them a great band before, and more life experience to tack on. Their new album is no longer Lost in Transition but is ready to be unveiled.
has two little daughtersso thats a huge be better handled. How is that going with the transition. new record, do you have a new approach? Matt Slocum: Well, the album title is specific to the band. This is a record that we did back in early 2009, and now its finally coming out in the back half of 2012. Seems like it got lost in transition between the making and the releasing. AH: So Matt, you had actually finished this album in 2009 and it took until this year for it to be released? LN: We are finally going an independent route, which is something weve always wanted to do, but it just didnt work out that way before. Now its 2012, and things are totally different from the way they were back in 1992 when we started. I feel like what were doing now is the best situation weve been in, in a long time. So, I hope it works out and we can keep making records, because thats our goal. Were not interested in pop stardom, we just want to find and reconnect with our fans, and give them music that hopefully theyll love for a very long time. AH: Well, I dont think it will be very hard to find your fans againand acquire some new onesI was just listening to the new album and its really good. But, as you mentioned, its easier to pursue an independent approach to recording an album now than it was before. LN: I think so, but I also wonder if it might not have always been easy, if we just had the mind for it. For myself, Im not a businesspersonI think there were probably Aimee: Your new project is called Lost in Transition; can you explain what the MS: Yeah, because when we got back together in 2008 we made an EP that was transition is referring to for each of you? independent and a Christmas record that was Leigh Nash: Well, gosh, theres been so on Network Records. Then, when we went much... The naming of the album as Lost in to make a full-length record, we signed with Transition was more in reference to us saying, a small label in the EMI system and went in to We want to make more records together record it in early 2009. But after the record after a long break. From that moment to this was made there was a bit of a personnel shift, moment, has really been the transition that is and they decided not to release the record. mentioned in the album title; all the strain that However, they were generous enough to we went through for about five years now, till give us the masters. So it was basically a finally our full-length album is done. record given to us for free, but its taken a lot And of course, weve both become parents of time to get out of the EMI deal and forge nowits been 8 years for me, and [Matt] distribution deals and whatever it takes to get it released independently. Were in a good position now, and were happy about itit just took a long time. LN: Im really excited about it, and looking forward to whats to come. AH: What was it that made you want to start playing and writing music together again? LN: Well, I missed Matt; I missed the music that we made together. Ive been in this band for more of my life than I havent. I think I was 13 or 14 when I met Matt, and now Im 35. [Being in the band] is like home to me, and the music is like home, its part of my creative outlet. And the creative space that I feel most comfortable in is with Matt. So, I think its all of that. I enjoyed doing stuff on my own, but I missed the camaraderie of playing with the band. AH: Leigh, somewhere else I was reading about how now that youre more mature, youre hoping the business end of things will 20 JUL/AUG 2012 CHRISTIANMUSICIAN.COM
the richer
lost and found
interview by Aimee Herd
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things we could have done all along that would have been wiser choices. But, hindsight is 20/20. AH: Lyrically speaking, Lost in Transition really feels like a slice of life, and I think a lot of people will be able to relate to it. Speak to where some of these songs on the new recording have come out of; songs like Dont Blame Yourself and Failure... LN: Yeah, I really love that song, its written by Matt and its one of my favorites. Those are some of the strongest lyrics Ive ever read from him. MS: Well, from day one, the lyrical content of Sixpence records is that sort of open journal kind of writingprocessing life and processing events. ...Sort of our own personal processes played out because its easier for us to express ourselves through music. On the song Failure, I had a friend whose wife was going to undergo life-threatening major surgery and that song was trying to describe that sort of angst, or dread, when we feel like something really bad is going to happen. Thats what that song is about, but I think overall, our lyrics tend to be very personal and very us trying to figure life out. AH: What about Safety Line, thats another song that jumped out at me, with that little bit of country flavor to it... MS: Well lyrically, I had heard this interview with Neil Young and he was talking about how he approaches guitar soloing, and how he views himself [during a solo] as a miner who digs his way deep into the earth and doesnt know where hes going to end up, and he hopes he can find his way out by the end of the solo. I thought that was an interesting metaphor and for some reason it made me think about how I can go down a lot of rabbit holes emotionally or spiritually, and how I have a wife who tends to be my tether line. She always seems to be able to pull me back and keep me grounded and focused; I was trying to explain how important that is to me. LN: [Safety Line] is one of my favorites on the albumthe lyrics are just so perfect and sweet. I remember the first time I played it for some of my friends, several of them were crying by the end of the song. Its not a sad song; its just so poignant. AH: Leigh, what song that you wrote on the album, really impacted you either in its 22 JUL/AUG 2012
AH: Beyond the stripping down of the music overall, were there any other things, sonically, that you did on this project that were different than previous ones? MS: Well, I think its more what we didnt do than what we did, on this album. Weve always tracked our records with the bands, and done more live recordings in the studio. But what we didnt do on this one was, we didnt add a whole lot after that fact. The record is mostly just writing or recording? the band performing with maybe a few overdubs here and there, but LN: I think Sooner Than Later is the one thats the closest to my heart out of the ones thats it. I contributed to the album. Its dealing with AH: I love the way this project really the death of my father. My husbandwho highlights your voice; youve got some nice was not my husband at the time, just a really tight harmonies, but then youve got that close friendhad gone to the funeral with cool, haunting vocal, as in Stand My Ground. me because he had met my father before What there anything different that you were he passed away. That meant a great deal to aiming for vocally on this album, or not really? me. And then when we got home, he started LN: I think it must be a little bit of a departure, writing the song Sooner Than Later. He very especially since its not orchestrated. On beautifully put to words what I wasnt ready previous records there was quite a bit of to put into words yet, and then we finished orchestration; but this one is simpler, so I the song together. So, that ones always going think it showcases the songs and the voice to be very special to me. part of it more. I think it comes off a bit more AH: Musically speaking; this album has a songwriter-y. Does that make sense? very current feel to it: kind of a stripped down AH: Not only does it make sense, but I think sound, but still melodic and catchy. Was that youve invented a new word! producer Jim Scotts influence, or something LN: (Laughs) Yeah, its a new word meaning: you and Matt already had in mind to do? theres very little to distract from the story LN: We did have it in mind to pursue and that the song is trying to tell you. Its very tothen, when we had a conversation with Jim, it the-point. was very much what he was intomaking it about the voice and about the songs, and no AH: So, what does the writing process look wasted parts. Hes a fantastic producer and like for each of you? [getting that sound] was one of the reasons LN: Well, it would be nice someday [to we chose him. co-write with Matt], I think wed really like to MS: Yeah, I think it was a bit of both. We write together more, but its just that we never both were wanting to really not let things get gelled as songwriters togetherI dont like to in the way of the voice or the songjust really write with anybody. I write with my husband try to strip back all the trappings. The choice (Stephen Wilson) just because hes around all for Jim was the natural choice to try to achieve the time. (Laughs) But, a lot of times he has that because thats how he works; he really to sort of pressure me into it. I just havent been all that inspired the last couple of years. encouraged that. We had that brief burst of inspiration around AH: Was this the first time youd worked the writing of this record, but since then I just with him? really havent wanted to write that much. LN: Yes, it was. And if I have the choice, I Originally, the title of this album was going to would never work with a different producer be Strange Conversation because it seemed again. Why look around, when youve found like the album was a conversation between the perfect producer?! Matt and I, but when it took two years for it to
CHRISTIANMUSICIAN.COM
people want to hear the record, its available AH: How does that work in terms of family Who knows, maybe in the future Matt and to themwere trying not to draw those lines life; balancing the touring, and also the other aspects of writing, recording, and releasing an I will write togetherIm his biggest fan in our own minds I guess. so maybe as we both get older, well write LN: For me its been so long I dont really albumand being a parent and spouse? come out, it became Lost in Transition. together more.
know what to expect. We just want to find MS: Its hard to say at this point, because I MS: Well, when we first started the band, I our fans again, whether theyre Christian or really havent been that active with the band since Ive had kids. The balance has been fine approached Leigh with a whole slew of songs, otherwise. and I wrote most of our songs at first. But, as AH: You guys just returned from touring in so far. I might be saying something different once were out on the road. the band has progressed, I think Leigh has Turkey, how did that go? found her stride as a songwriter and as each LN: It was great...fantastic! It was such a album goes on, youll see more of her writing. great trip and I want to go back. We played AH: Earlier Matt, you mentioned the band in a place in Istanbul that seemed to be like performing in the studio, talk about the a House of Bluesexcept in Turkey. People really seemed to enjoy the show. Sixpence band a little... MS: Justin Carry is the bass player, hes been on every studio record and every tour since 1998, and then Rob Mitchell played drums for the Divine Discontent record and toured with us till about 2004. He still tours with us as well, but we had a different drummer on this album [for the recording], named Will Sails. Hes in pretty heavy demand in Nashville, so we dont always get to play with him, but we love having Rob too. We feel really blessed in Nashville, theres such a great wealth of musicians and great people to play music with. MS: We had a great time, we were just playing in very small little clubsthe club in Istanbul maybe held 300 people... The people that came out were very into it; it was a really good experience. AH: Was that the first time youd ever been there? MS: Yeah, first time. AH: And what are your plans as the album releases? Are you touring in the U.S.?
LN: Ive never had to be away from my son for very long at allhe and I are sort of attached at the hip... I just try to start each day with a prayer for God to guide me and then I put one foot in front of the other and let Him know that Im available for whatever He wants me to do. But, I havent had to be away from [my son] much so... I dont know. Its hard to plan for something like this because my family is everything to me. I want to tour, and I want to play shows, but I wont be away from him very muchI love that kid! But, were ready and willing to tour, and I just trust that God will work out the details, as He always seems to do. AH: How does it feel for Sixpence None the Richer to be back? LN: Im really happy to have something going on, and Im very pleased with the response weve gotten so far. Im thankful that the new album is finally coming out, and Im looking forward to making more music. MS: It feels good. I love the community of the band; I love Leigh and that I get to make music with her and the guys in the band. Im very anxious to see how the album is received publicly, just because weve been away for so long. I guess I feel a little anxious or nervous about that, but at the corethe community I have with the bandIm having a great time.
LN: Yes, we have some dates in Texas in August, which is nice; we havent been down AH: In the past, Sixpence has had very wide there in a long time. And then well be in New appeal, with a fair amount of crossover into York... things will start rolling as the record mainstream markets, did you have that in releases and well see how people respond mind as a goal at all with this record? to it. MS: I guess were just going with it, wherever AH: Are you even now constantly writing this album impacts. Since this is more of an to where you have enough songs for another independent release, I think were just happy project soon, or no? that whoever wants to hear it can get a hold MS: (Laughs) Good question. No, I dont of it. Im not sure that were thinking along the have another albums worth of material yet, lines of Christian vs. secular focus. Its more, if but Im hoping for not this long of a wait again.
Matt Slocums Gear: 1960 Stratocaster, from the Fender Custom Shop, robin egg blue. Late 60s-early 70s Fender electric, and a Lowden O model acoustic guitar, and I run those through a Matchless Chieftain Amp or a Vox AC30, Empress Delay Pedal, compressor, and a Demeter Tremolo Pedal. All those are mounted on the Trailer Trash Pedal Board. Matt also plays a Luis & Clark Carbon-Fiber Cello; an acoustic cello made out of carbon fiber, except for the bridge. Visit the official website for Sixpence None the Richer: www.sixpencehq.com
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R U L E T H E S TA G E
selective hearing
by Shawn McLaughlin
The Hurt and The Healer Mercy Me Fair Trade Services
I admit that I have a tendency to give the bigger selling groups in CCM a pretty hard time in regards to the paucity of artistically challenging moments on their records. Mercy Me most definitely falls under that umbrella. I am aware how hard it is to satisfy everyone, and Christian bands, ultimately, have to consider themselves, their core audience, the church, their record label, as well as detractors who scream for more challenging fare. On the bands newest long player, The Hurt and The Healer, Mercy Me manages to do a pretty darned good job of satisfying each of these many factions by relaxing a bit and just playing to their considerable strengths. Sure, there are some radio ready ballads that will make the critics wail a bit about somewhat simplistic concepts and clichd musical touches, but those moments are, at least, confidently and competently executed as well as few and far between on this project. Instead, we get bouncy, Beatles inspired pop like To Whom It May Concern, with lyrics that encourage the listener of Jesus omnipresence, or the atmospheric euro-pop of Dont Give Up On Me, which features a very rough and ragged guitar break that bristles with almost punk-like energy. Also on that wavelength is the hook-laden Best of Me, with a chorus that youll have trouble shaking from the deep recesses of your brain. The best and most surprising cut on the record is Take the Time, a bluesy power ballad that features the emotive vocals of Bear Rinehart from NeedtoBreathe, and a powerful vocal turn from Bart Millard. The guitar work on this cut is worth the price of admission and adds to the emotional breadth established by the vocals. The track builds to a powerful crescendo that borrows liberally from the Lynyrd Skynyrd book of southern rock goodness and leaves the listener yearning for more of this type of song. Along with solid radio rockers like the album opener, You Know Better, and the Maroon 5 inspired You Dont Care At All, these make up the strongest and most challenging group of songs the band has ever put on one slab of vinyl/acetate/plastic. So, if you, like me, has never fully warmed up to these multi-platinum, CCM titans, The Hurt and The Healer could go a long way toward changing your opinion.
Precious Remedies Against Satans Devices The Welcome Wagon Asthmatic Kitty Records
From Sufjan Stevens own boutique label comes The Welcome Wagon, a ministry team (Vito Aiuto is a Presbyterian minister from the Williamsburg neighborhood of Brooklyn, and Monique is his wife) who release an utterly charming album made up of covers of ancient hymns juxtaposed with a cover version of relatively obscure -at least in a Christian music context- song by The Cure. Vito and Monique contribute several originals as well, like the pedal steel drenched rumination on community, Rice and Beans, which should help the band corner the market in the Christian Alt Country genre in which they exist, pretty much alone. A Byrds inspired cover of God Be With You Til We Meet Again, a staple of Presbyterian liturgy, serves as the penultimate cut on the album followed by the couples own Natures Goodnight, forming a two-punch benediction that neatly wraps up this sweet album that convincingly reveals a narrative of the basic gospel message, from confession, to profession to, ultimately, redemption. Precious Remedies against Satans Devices is probably not going to be a hit with the Casting Crowns, Steven Curtis Chapman crowd; but for anyone who likes authentically created, convincingly essayed music, The Welcome Wagon has a spot in their caravan for you.
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since his beginningsas the new disc, produced by the criminally neglected Cason Cooley (ex Normals, producer of Jill Phillips last two discs), occupies the musical space somewhere between the raw emotional landscapes of a Jeff Buckley and the atmospheric, expansive sounds of early Radiohead or U2, with some world music touches thrown in for balance. In fact, there are times on this CD where one swears that Bono is making a guest appearance; so striking is the vocal resemblance, at times. Inspired by the writings of the 8th century Persian poet Rumi, 20th century Spanish poet Federico Garcia Lorca, as well as letters written by Vincent Van Gogh to his brother, Theo, the record seems driven by the variety of influences. It is quite amazing, then, how deeply intimate Jones makes each track feel. When confronted with the fact that Jones father passed away just before the writing of the album, it begins to make sense. Land of the Living, then, is a stirring triumph, an ode to personal awakening, and a call against spiritual apathy as best represented by the cut, Waking Up the Dead: I want to dance on fire and be born again / I can hear the voice thats waking up the dead.
The Loudest Sound Ever Heard The Choir Galaxy 21 Records www.thechoir.net
While listening to the track Learning to Fly on the commentary disc of the new Choir opus, The Loudest Sound Ever Heard , drummer/lyricist, Steve Hindalong recalls asking his wife for advice for a lyric because he just wants to write something that is true. Truth is a great signifier for this trailblazing band who, over the course of its 30 year career, has sought creative and, sometimes, painful ways to illuminate the truth of Jesus Christ; of the destitution of the human condition; and the place where these two elements intersect. Each album has been artistically truthful to where the band resided, musically, at the time of release with the possible exception of 1986s Diamonds and Rain which featured a more overtly commercial tone (courtesy of label mandated producer, Charlie Peacock) both musically and lyrically, though hardly callously as it is still a great album. With a more obviously encouraging tone than any album since then, The Loudest Sound Ever Heard echoes the bands finest work by mining the deep well
of humanitys vagaries to find solutions to the sinfulness that plagues us all. In typical Skinny fashion, Hindalong shines a transparent light on his own fallen nature, in particular, a recent admission of his own 20+ year struggle with alcohol and the peace and restoration that has come from the spiritual healing found in the 12 step program he has attended for the past year. Learning to Fly recounts the 19th century explosion of the Indonesian volcano, Krakatoa, which is purported by scientists to be the actual loudest sound ever heard. This serves as a metaphor for the fragility and ephemerality of life as Hindalong urges listeners to celebrate every breath we breathe, living life like you could be experiencing your last day. The lyric also recognizes the difficulty of reconciling the sorrow we all experience with the grace and mercy of a loving God, but instead of trying to give a pat answer to this dichotomy, the song emphasizes transcending our circumstance and loving each other, despite our own pain. Elsewhere, Hindy practically mirrors well known 12 step teachings (a recurring lyrical theme on the project) in the hypnotic, transcendent, 6 minute mood piece, Cross That River which,
though monotonous in melody (Think U2s Bad), is stunning in its use of dynamics and bold, sonic touches darting in and out of the mix, including an epic, impressionistic guitar solo by Marc Byrd, as well as Buckeye Dan Michaels typical, layered lyricon work which adds a hauntingly beautiful vibe to the track. The cut is tethered to the truth of the gospel as evidenced by the final line: Youve already been baptized with fire. Youve been born again. Speaking of mystery, Laughter of Heaven continues the moody vibe (Michaels excelling on his Selmer saxophone) with more lyrics extolling the mysteries that are not always revealed to us in this life, causing us to seek Gods spirit for guidance- while Forest takes a more immediate musical path with a tuneful song that makes the point of trusting God, despite not understanding His reasons. Even
SHUBB
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more clear: sometimes its best NOT to see the forest for the trees. Along with a lovely song encouraging individuality in young women (Strange Girl), inspired by friends of Hindalongs two daughters, the bands children prove the focal point of O How a heart rending, yet ultimately encouraging cut about the joys and sorrows of parenthood and how it is a microcosm of the relationship our Heavenly Father has with us. Melodious is an apt title as cascading guitars and an insanely memorable lead line propel the cut, inspired, initially, by Hindalongs reminiscences of his nearly 40 year friendship with bass player extraordinaire, Tim Chandler (check the reference to Chandlers lightning fingers being likened to the flapping of hummingbirds wings). The song becomes a tribute of sorts to the friendship and camaraderie experienced
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COLORS!
by all the members of the band, and, like any of Hindalongs personal musings, holds a universal application for anyone celebrating the bonds of lasting friendships: The beat of a true friends heart is the loudest sound ever heard. In fact, Hindys supernatural gift of relating to his listeners hurts, joys, failings, and triumphs with aching tenderness is one of the things that makes the Choirs work so appealing and transcendent. The sonic frosting on the cake is the Beatles chord that ends the song, sounding much like the opening salvo of Hard Days Night. Finally, the 1-2 emotional punch of the albums final two cuts is the highlight of the album for this reviewer and, perhaps, the finest moment of the bands illustrious career. Worlds Away features some of Derri Daughertys most affecting guitar playing including a chiming, almost oriental sounding opening figure that repeats throughout the song and gives way to one of Hindalongs finest lyrics, encouraging believers to continue on as light-bearers despite our own flirtations with the darkness in our hearts and despite our lack of true understanding of Gods ways. another reference to His mystery. The album closing After All is a revelationa fragile, liltingly beautiful duet between Daugherty (whose vocals throughout the project are unusually emotive and tender) and the radiant Leigh Nash. Whoever thought of this pairing gets a gold star, as the two could NOT sound more perfect together. I recognized the music immediately as the song My Imaginary Friend from Daughertys solo, ambient-instrumental project, Clouds Echo in Blue (which you all should own). Hindalong loved the melody and came up with a typically poignant, perceptive lyric about the connectedness of all humankind as children of God. This atmospheric marvel features a particularly lovely cello solo that morphs seamlessly into an equally stunning lyricon line played with wondrous sensitivity by Michaels. In fact, the Ohio native may be the musical star of the project, as he has always been a master of subtle contribution, but was given an opportunity to shine on this project, and enthusiastically took the bull by the horns, so to speak. The Loudest Sound Ever Heard, then, is a fabulous albumperhaps offering more questions than answers, so it wont be every Christian music listeners cup of tea, but for those who are comforted by honesty, moved by vulnerability, and motivated by unparalleled musicality, The Choirs latest will fit the bill and THEN some.
Shawn McLaughlin is a hard working dedicated, tireless worshipper of Christ
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Roland was so nice with letting me use it that I did a video on it. Did you happen to see the song, BA: Exactly! Hey, changing subjects. I just got your Shades of Green, that I did with it? new CD Cover of Love, and I love it. Tell us about BA: Yes, it is on their website. They are giving it especially the cover song Good Vibrations. The production work on that song is fantastic. away one of those amps autographed by you. PK: Yes they are. Its a great tool for working on counter chords and inversions that go over chords. You can create a beautiful tapestry of chords, because it is not just all about doing a rhythm part and a lead over it. You can actually get very creative with that looping amp. BA: How is the tone? PK: It is quite good; it really is. I was at my friend Mike Pachellis house (who shot the video of me doing Shades of Green) and we ran it direct out (left and right) into his ProTools rig. I have also taken it to a few acoustic gigs here in Nashville (at Pucketts and some other small venues) and in a quick set-up situation, where you just plug in and then go direct to the PA, this little amp did really well. BA: That sounds quite versatile for you. How about any new pedals youve liked lately? PK: Bob Weil of Visual Sound gave me the new Dual Tap Delay pedal. I was able to do a demo of that at their studio and it turned out really fine. Boy, it had a lush, just beautiful sound. BA: With the two delays staggered the way they are, you easily get a nice U2 vibe out of it. PK: Exactly. I havent had a chance to try it out on the road yet, but I think it sounds very cool. BA: Great. Any new interesting guitars youve tried out lately? PK: Yeah, have you ever heard of Flatline Guitars? I have played their VistaGlide guitar before on some things, and now recently I tried out their telestyle guitar a Delta 90. It is like a Tele but with a
PK: Well thank you. I was about ten years younger when I did that. There are some old recordings on that too. My Auburn Lady was from the late 90s. Somedays, by Paul McCartney is from the late 90s as well. What Matters Most is from 2001. Then She Sees Me is from 2002, but I redid everything on it except for the drums. Good Vibrations I did around 2002 as well. Tony Shore was making a compilation album featuring the songs of Brian Wilson (from the Beach Boys). He had asked me to do that particular song for it and I said, Well I have always loved that tune; it is so fun and whimsical and creative. I put the keyboards down first, then the guitars; and I brought Ken Lewis in to play the drums. I got Gene Miller and we did the BGVs, and I did the lead vocal all in one night. And then for that Theremin part [Phil sings, imitating that iconic Theremin part of the song] I used my Line 6 DL4 sampler and echo/delay modeler (I put it in
Dawns, and the third newest is one I wrote with my daughter Olivia Where Are You Love. BA: I like the other McCartney song on there too, Motor of Love. PK: I had recorded that on my Inseparable album years ago and I brought it back to this one. It sounds like a gospel song, and whether McCartney was writing about God the Father, or he was writing about his own father ( Jim McCartney) in the line Heavenly father look down from above you know, that is his business; but to me the song has such a great positive message, and since God is lovewhen I sing it, I think about my Heavenly Father. BA: Way cool you know Judy and I really like your classic rock tunes as well. I think you are in your wheelhouse when you are playing blues-rock tunes (for example the ones on the Zion album). PK: What is in my heart to do in the future is a kickin rock album. Id put songs like Crossroads, John the Revelator, and Doin Nothing just kickin songs but with full-on gospel lyrics, like old spirituals, you know? BA: Youve got a blues rock song on the Cover of Love album that I like too. If you do a whole record of that style I will line up NOW to buy it. PK: Well buddy, I agree with you completely! And if you want to produce it let me know. BA: (Laughing) I dont think I have the ears left for it but I sure appreciate the offer Philly!
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PRODUCT REVIEW
Left of the Option knob is the Option Select button controlling a total of six settings consisting of: Pre Delay, Diffusion, Bass, Output, Rate, and Depth. Honestly, each one of the reverb settings sound great. The pedal also has selectable true or buffered bypass. There is also a Trails Mode that allows the reverb to fade gradually when you bypass the effect. There are 2 Plates, 5 Rooms, 2 Springs, a Modverb, an Echo, as well as a cool Metal Box preset. Having two user presets on a Reverb pedal is very useful in a live setting. It saves you the hassle of leaning down to change presets. I saw a video demo of the E-Dome preset combined with the Dual Expression Pedal and had to try it myself. Loved the effect! Play a chord with the Pedal down and while it sustains, pull the pedal back and play over the chord. I can think of a number of great uses for this during a Worship set. The Echo setting produces a cool retro vibe, and the Modverb setting will get you that ever popular Edge thing happening. With all of the possibilities and MIDI capabilities, the Dimension Reverb is another great bang for the buck. In summary, if you are looking for some unique distortion sounds, the Multiwave Distortion is well worth checking out. You can get everything from Clean Boost to Classic sounds to crazy Octave Foldback distortion that could be just the thing youve been looking for. With the added Dual Expression Pedal, the Hot Hand Wireless device, and Midi control, the possibilities are endless. The Dimension Reverb is a class act. Its super rich sounding and versatile. Wish list: Nothing much on the Multiwave Distortion. Being a studio musician as well, I would have liked a stereo in and out on such a sweet reverb, though for live it probably doesnt matter. Im happy if people can hear my guitar parts at all! Street Prices Delay - $169 Reverb - $189
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Ask Joe
by Joe Riggio
Hello Readers! I commonly receive questions that Im sure lots of us share, but have answers that are a bit too short to fill this column. So this month Ill be grouping some of them together for a little change of pace. Please keep in mind that these types of questions usually have answers that are even more subjective than the more technical type, usually found here. So, heres my take on them: When it comes to strings, should I buy coated or uncoated?
Q A Q A
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Coated strings came onto the market in the mid-90s as a solution for strings losing their new tone, due to early corrosion. The marketing for this innovation was hard and heavy from the start, and the product has now been adopted by almost every string maker in the U.S. There is a fairly heavy cost to this plastic jacketed counterpart to traditional strings, so I only recommend them in certain circumstances: If a player has unusually acidic sweat that corrodes a regular string upon first play; for those who dont like the bright sound of a new set of strings and for those who prefer the smooth feel of a coated string. Otherwise, I usually advise against them, mostly because of their cost and lack of brightness. When recording acoustic guitars, do you use microphones or pickups?
Q A Q A
My 12-year-old daughter/ son wants to learn to play guitar. Should they learn on a full-sized one, or a short-scale?
I have found that there is a huge misconception out there, among beginners and novices, that acoustic guitar pickups are the way to record, as well as play live. For the vast majority of professional recordings, a microphone is used to record acoustic guitars. This is not a rule, and a pickups sound may, in some cases, be what youre looking for, but a condenser microphone will usually give you the sound that youre used to hearing on your favorite recordings. JUL/AUG 2012
I think this one really depends on the particular child. In general, I feel that starting on a short-scale guitar can create an awkward transition to a full-scale instrument, in the future. However, if the child is particularly small, with smaller hands, by all means start them on a short-scale guitar if a full-scale is obviously frustrating to them. The beginning stages of learning are challenging J o e R i g g i o i s a professional guitar enough, as it is.
to their beginners guitars. A guitar that is not properly set-up, no matter how expensive or inexpensive it might be, can cause real frustration to the player that is learning. It will be both more difficult to play, and will not be in-tune with itself, causing improper ear training. Most professional instructors in my area commonly send their beginning students to me, to properly set-up and adjust their guitars. Hmmm, I think I like this format. Shoot me an e-mail and let me know what you think. ServiceGuitarRepair@gmail.com
repairman/technician Is it worth getting a cheap and recording engineer, beginners guitar set-up by based in Tacoma, WA. a professional technician/ He owns and operates repairman? Service Guitar Repair and House Of Sound Recording Studio He has a deep love and knowledge of vintage guitars, This one relates to the last, as well as modern and loves to share his passion with others. and is the most common He can be contacted at ServiceGuitarRepair@gmail.com, misconception, among my website: www.ServiceGuitarRepair.com
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PRODUCT REVIEW
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towards the musician and not directly out, ideal for tight spaces. Monitor Stations
Remote System The L3t is also an excellent solution for areas like childrens rooms which often have a complex set of audio requirements. The native RCA jacks are ideal for MP3 or DVD audio, leaving two mixer channels for mics or instruments, and the line input for piping in the main service if need be.
For venues with a limited number of monitor sends, the Loop Through XLR jack offers amazing functionality. By daisy-chaining multiple units together via the Line In and CONCLUSION Loop Through jacks, you can build monitor Whether youre in the market for powered stations where musicians can blend in their RESULTS mains or monitors, the L3t brings a host own instruments via the internal mixer With every input source I tested I was without feeding those signals down stream. thoroughly impressed with the sound and of really smart solutions to address the This addresses one of the biggest ongoing functionality of the L3t. Each of the things it challenges Churches faces each week. challenges for smaller congregations. was designed to do it did with excellence. I Retail Price $1,199.99 Line6.com
was particularly impressed with the acoustic modeling as well as the sound of my HD500 into the mixer input in the Floor Monitor Smart Speaker mode. In testing the L3t in service the tone was true to what was coming out front of houseand I even got some whammy bar fueled feedback!
Barry Graul
(MercyMe)
I swap out pedals frequently and Pedaltrain makes it very easy to do. Whether traveling or in a studio, they are versatile and very durable. A great pedalboard.
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Ive reached a point where I realize that there are two kinds of recording projects. The first is the one that impresses all the musicians who never buy it. And the second one is the passion Im taking a few hints from the story of Gideon I heard somewhere that, the guy who knows driven creative expression that sells records. in the Bible. God comes to him and says, Youve why something should be done will always Dont be fooled, passion is greater than talent! got too big a band. You need to thin it out. have a job before the guy who knows how to Someone played me one of the greatest Look for the soldiers with the most vigilance do it. Creativity is rarely a salaried event. What music projects Ive ever heard the other day. and let me shine on an impossible victory. Im saying here is: Look for co-laborers first. Sonically it was superb. But you could feel the What if we all wrote and played with a pretentiousness, the cut and paste, no thought lyrics as it rolled over a perfect track. relentless determination to proclaim what true salvation looks like. Id love to see Christian Music overcome the urbane, ubiquitous drone of the gangster phenomenon. Not Christian Music as a genre either; just the power of the truth above the circumstances. Thats where I want to be. Thats what I call Christian Music. Its not based on how many scripture references you can add, or how many times you use Jesus as a buzzword to enhance your approval rating with the flock.
Trust me, I understand the value of great talent. But it is no excuse for narcissism. If you are looking in the mirror while youre playing, youre not playing from your heart. Dont make a performance out of a worship song either. And I believe all songs are worship songs of one kind or another. And theres no guitar solo in Amazing Grace.
Weve got what money cant buy. And Ive seen Gods hand on songs in every style imaginable. In the end I believe THAT Passion pays! I will bring what redemption feels like to me at this moment. And my hope is that you find that as well in your work. If ever there was a need for a new hope in this world, it would be now. Lets find something breathtaking to In recent months and do in music shall we kids? And lets pray for an in working with other increase in our faith above all. writers Im seeing a new kind of passion among Bryan Duncan... CCM artist for Christian musicians. Its a desire to truly affect the thirty years. With the Sweet listener with the good Comfort Band, then solo and now news. Its different from with the Nehosoul band. Owner days of old where there of Red Road Records and Host of was a distinct attempt to Radio Rehab at www.radiorehab. appear great musically, com inducted into the Christian music Hall of Fame in and to offer something 2007. that kinda sounded like 46 JUL/AUG 2012 CHRISTIANMUSICIAN.COM
Jim Widner
P22
before
Mark Lee of Third Day with his P22. Check out Marks video demo at www.prsguitars.com/p22