Record Reviews

Hillsong Chapel
Gateway Worship
Kristian Stanfill
Jesus Culture
Trent Live

JANUARY/FEBRUARY 2011
Volume 9, Issue 1
01 Product Review
McPherson’s
new 5.0 XP12 –
0 74470 58440 7 12 String Guitar
US $5.95 Can $6.95
Songchart: I Lift My Hands • A Few Moments With… Worship Songs On Strike
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 Editor’s Corner
JANUARY/FEBRUARY 2011 vol. 9, issue 1
Practically There… Features 42 The Band
I’ve been thinking lately about the wide range of worship experi- By Tom Lane
ences and our responsibility towards them. This magazine desires to
8 Product Review Dial It Down
serve its readers (you) as you serve your local congregation in a very
practical way. And that is where we have a wide variety of shared By Bruce Adolph 44 Camera
experiences. Some of you may serve at large congregations with a McPherson’s new 5.0 XP12 – By Craig Kelly
bevy of musicians to draw from while others may be at a church of 12 String Guitar So You Volunteered as a
less than one hundred folks and not a drummer in sight. Some of you
may lead a home Bible study with a single guitar while others are 10 From the Drummer’s Camera Operator At Church
in charge of overseeing three revolving adult bands plus a rambunc- Perspective – Uh Oh, Now What? Part 4
tious youth group band.
I tell people half-jokingly that we are about “trying to make the By Carl Albrecht 46 Tips for Tight Teams
bass player better by this Sunday.”We have regular columns that are Simple Is Good By Sandy Hoffman
directed right at many of the individual instruments and roles played Skills to Fill the Bill
by musicians and techs on your team. Plus we have articles that press 12 Keyboard
into matters of the heart. Why? Because God wants our hearts as By Ed Kerr (Identify, Develop & Deploy)
well as our talents. I always remind our writers to keep it practical, to Playing With Color
write about things we can apply today to raise the level of musician- 48 Mandolin
ship and service to the Lord. 15 Bass By Martin Stillion
Where does this leave us? Whether you are paid staff in charge By Gary Lunn How chords are related
of a worship team with fifty members or are a volunteer with two and
a half musicians each week to utilize, then you have a responsibility. Tech Tips 50 Product Review
Whether you are on the platform leading a vibrant set with a full By Bruce Adolph
band, three big screens with live cameras, and a kicking PA system, 16 Vocals
By Sheri Gould Kurzweil SP4-7 Keyboard
or you are leading a small home group with an acoustic guitar that
you are praying doesn’t break another D string while you’re pound- Auditions: A Good Thing for 52 Lighter Side
ing out that new Chris Tomlin song – we each have a personal Your Team?
responsibility to the Lord first and to others second. By Manuel Luz
So with this in mind, we start our ninth year of publishing Worship 18 Product Review Do the Math
Musician. I love doing what I do as publisher. I get up every day and
don’t think “Oh, I have to go to work today.” No, it is a gift from the
By Doug Doppler 52 Lighting
Lord for a man to enjoy his work and I love doing it. Line 6 POD HD500 By Greg Sisley
I have to live in the practical world myself, as columnists need to be Chauvet 300E Spot
reminded that their articles are due, ads need to be sold, and that the 30 Record Reviews
cover story needs a good photo. But there is a “matter of the heart” By Heidi Todd and 300E Beam
for me too, as I need to trust the Lord as I keep moving forward that Gateway Worship 54 A Few Moments With…
He will help me get it all done in time for the printing and distribu- Hillsong Chapel
tion deadlines. Just as you have responsibilities and callings to serve By Tom Kraeuter
Jesus Culture Worship Songs On Strike
others, we (this magazine collectively) have a responsibility to you.
As we look forward to this new year of 2011, you the reader Kristian Stanfill
have our renewed commitment to serve you the best we can as we Trent Live
lead a great group of writers/columnists, whom Judy and I believe
have valuable resources to share with you 34 FOH Engineer Interviews
and your entire team – no matter how small By John Mills
or large. The High Pass Filter, Your Best 20 A Sit Down With Chris Tomlin
So remember as we walk into 2011, Friend
keep it practical and play like all heaven
is listening!
36 Ministry + Artistry
Lord Bless Ya! = Profitability?
Bruce and Judy Creating your
MAP™
By Scott A. Shuford
The Four P’s

38 Authentic Worship
By Michael
4227 S. Meridian. Suite C PMB #275 Gonzales
Puyallup, Washington 98373-5963
Phone: 253.445.1973 Fax: 253.770.0659 The Last Worship
Email: bruce@christianmusician.com Leader
Website: www.worshipmusicianmagazine.com
Publisher/Editor: Bruce Adolph 40 Guitar Grab Bag
Vice President: Judy Adolph By Doug Doppler
Customer Service: Brian Felix
brian@christianmusiciansummit.com
Mistakes I’ve
Design: Matt Kees Proof: Toddie Downs Made…
Production: Scot Herring / J&D Printing And The Things I’ve
Advertising Sales: Bruce Adolph Learned
bruce@christianmusician.com • 253-445-1973
Worship Musician! is published bi-monthly
by The Adolph Agency, Inc.

WORSHIPMUSICIANMAGAZINE.COM JANUARY/FEBRUARY 2011 7

 Product Review

By Bruce Adolph

McPherson’s new 5.0 XP12 – 12 String Guitar

I have always been a fan of 12 string guitars. model number refers to it being a five inch wide body at the
There is nothing like a finely tuned strum on a 12 lower bout.
string. I love the full sound. I bought my first 12
string in Hong Kong when I was just 15 years old. After traveling from across the country and through some very
In the last three years I have bought and sold three cold weather this guitar was very close to being in tune right out
different 12 string guitars… like I said, I am a fan. of the case. Another testimony to the unidirectional high-modulus
carbon fiber fortified truss rod system in the neck of McPhersons.
Now maybe you can understand why I was so ex-
cited when McPherson agreed to send me one of their I pulled out my trusty iPhone and tuned it right up. The first
new 12 string instruments for review. If you are a long strum brought out the “OMG” (oh my gosh!). It sounds like three
time reader you might remember that I have reviewed guitars and the bass notes were round and full. Sometimes with
McPherson 6 strings before and how I really like their a 12 string you can lose some articulation with the jangly-ness
concept of a cantilevered neck joint (the fretboard does of all those strings but this guitar was full AND clear as a bell. I
not rest on the top of the guitar – this allows the top tocouldn’t stop playing for the next 15 minutes straight and what
vibrate freely) and their unique off set sound hole. The I noticed was that the pronounced dynamics of the six string
sound hole on this 12 string is even larger than the McPherson that I liked so much were are all still resident here
ones found on the 6 string models. on the 12 string version. You can do a percussive type of strum-
ming and it responds instantly. I played some big open chords
The high quality tone woods and impeccable crafts- and it just rang out… man, I love this big sound! Sustain and
manship have always impressed me and I’m not the clarity hitting all the bases from the low end, to the mids and
only one who likes the sound and build concepts of right up through the highs.
McPherson, as they have several well known artists in
mainstream and Christian circles touring with them… Probably the biggest hindrance for some folks playing 12
one of them being our good friend and well loved strings is the action on the fretboard. Not in this case however.
worship leader Paul Baloche. In the interest of full dis- The action was low and fast. I riffed around some and it was
closure, after Paul kept showing up at our Christian smooth sailing all the way. The ebony fretboard helps with this
Musician Summit conferences so happy with the sound but so does the nicely crowned Plek pro fret work. Remember
of his McPherson, we at CMS approached Larry Klenc you are working with a handcrafted instrument here so you get a
at McPherson and followed the procedures to become much higher level of performance with the higher cost of goods.
a dealer for their instruments. We believe we reach a
vertical niche market of guitar players in the The shape of the guitar neck is surprisingly comfortable and
modern worship community and could actually on the “thinner than you would expect” side. I felt totally
make the relationship a mutually ben- at ease playing the guitar, even the neck joint feels good when
eficial one – which it has been. If you you go up high in the register and play in the cutaway area.
come to one of our conferences you Which brings up another good point. It is unusual to even find a
can play a McPherson in person. 12 string cutaway; more kudos to Matt McPherson on this one.

Now back to the 12 string… this is
a new thing for McPherson. I opened
up the case with great anticipation. I
was met with a “wow moment”. A
beautiful solid Redwood top and
the elongated headstock with
12 tuners on it lets’ you know
you are in for a treat. Lifting
up the guitar I could see
the solid Granadillo back
and sides (Granadillo is a
Mexican Rosewood. It pos-
sesses similar tonal quali-
ties of an Indian Rosewood
with a different look) and the
dramatic flamed Koa bind-
ing all around the body and
neck. The whole guitar is just
beautiful! This brand new guitar
even smelled great. The fretboard is
Ebony along with the bridge and head-
cap. This guitar has a Sitka/Rosewood/Sitka
brace kit in it. The neck is made from a single piece of
African Mahogany. The neck width on the 12 string is 1 7/8
@ nut, 2 5/16 @ bridge, 25.5 scale length. The 5.0 in the
This model comes sporting German made gold plated
Schaller tuning machines.
The guitar case itself is a quite something. It is a Ameritage
hardshell with a plush lining (really a snug fit for your guitar) and
a built-in digital hygro thermometer that tells you the lows and
highs of both temperature and humidity.
No one decks you out with better “case candy” than McPher-
son. Inside the storage trunk of the guitar case you will find the
warranty cards/manuals for both the guitar and the case, a
set of Elixir strings, three different height natural custom bone
saddles to adjust the height of your action as part of the Buzz
Feiten intonation system, a set of McPherson guitar picks, a logo
branded polish cloth and a anti-feedback soundhole cover for
when you are playing your guitar through a sound system in a
loud environment.
The bottom line, if you have the duckets, you will be hard
pressed to find another 12 string that sounds this rich and plays
so well… the two hallmarks that you evaluate every 12 string
with, is fully met with this new McPherson 5.0 XP 12.
Retail price is $7,800.00 Custom made in Sparta, WI.
More information at www.mcphersonguitars.com.

8 JANUARY/FEBRUARY 2011 WORSHIPMUSICIANMAGAZINE.COM

Charts
Tracks
Arranging
Planning

Find It Here!

Everything You Need

to Plan Worship!
 From the Drummer’s Perspective

By Carl Albrecht

Simple Is Good
I’ve been checking out some amazing the 8th bar and start playing a variation for them get the best performance out of the
drummers on YouTube. Tricky grooves, the next eight. song. It’s not about doing your drum thing.
crazy over-the-top drum fills, mind-blowing Of course, that drum thing should be about
solos --- a real drummers delight. Most of When I do this demonstration in semi- making the groove feel great.
these inspiring concepts are not things nars I sometime have students come up and
I would use very often in worship. Sorry play for the class. How many do you think Remember the phrase- “It’s About The
drummers, that’s just the way it is. However, can do this exercise correctly? NONE! Song.”
I still work on the ideas that I see in the vid- That’s right… in all my years of teaching
eo clips, drum books, and other teaching students and doing clinics, the first time Most drum grooves fit into four major
DVDs. Why??... Because I want to keep a drummer tries this they “choke” or get feels. As you do your groove exercises be
building my vocabulary of drumming, and carried away and start playing too many sure to mix it up. Don’t play one feel all of
for the shear joy of learning knew things. ideas. OK… maybe I’ve had 1 or 2 get it the time. Here’s a list of the big picture of
Also, I want to be ready for the moments right. But that’s usually after they watch ten drum grooving:
that occasionally happen when the drum- other drummers go through the demonstra-
mer is called upon to make a bigger state- tion. #1. 8th note grooves – count: 1 & 2 &
ment. 3 & 4 &.
If a drummer wants to know how to work
This is not about showing-off either. It’s on the basics I always tell them to get a #2 16th note grooves – count: 1 e & ah,
about being a communicator in the spiritual metronome and a practice pad. 2 e & ah, 3 e & ah, 4 e & ah.
language of music. Yes, it is a language of
the soul. And it touches people no matter #1. Start practicing rudimental exercises #3 Triplet grooves – count: 1 la lee, 2 la
what culture they live in. That’s why worship first for 15 to 20 minutes. Play one tempo lee, - or 1 trip let, 2 trip let.
music is so powerful. The Holy Spirit speaks for 5 minutes on any rudiment. Use a vari-
through this music around the world. But in ety of dynamics and accents as they play #4. Shuffle, swing, or hip-hop grooves
most of this music the drummer’s job is still at one tempo. Then try different tempos - *a triplet count without the middle note–
to lay the foundation of a solid groove & and rudiments in five-minute segments. Be count: 1 _ ah, 2 _ ah, 3 _ ah, 4 _ ah.
feel for each song. This task is really the sure to keep it relaxed. No tightness.
most important roll of every drummer, in Also, as you choose songs to copy, be
every style. The motto, “Groove Is Every- #2. Then they should work on the 8 bar sure they have a variety of feels. Don’t
thing!” still applies. (Thanks to Abe Laboriel groove exercise for another 20 minutes. play one type or style of song. Just like you
for making that such a memorable quote.) Again, five minutes at one tempo and then would not practice only one drum groove
stop and try other groove ideas at different idea or one rudiment.
So today I’m back to preaching tempos.
“groove.” It’s STILL our most important job This all seems so basic and simple.
as a drummer. You can play a million #3. And finally, listen to and copy a lot BUT… “Simple is good!” Work on mak-
notes, but if it’s not “in the pocket” it’s worth- of drummers on actual recordings. This is ing even the simplest idea “feel” and sound
less. Every time I play I’m thinking time and a basic approach to drum development, great. Don’t worry about the flashy stuff. Put
feel. I never think of making a show of my but it works. AND,,, start simple. Simple is your heart in soul into every note. It does
latest cool idea. NEVER! If I’m called to good! Play grooves & songs that you can make a difference.
play more busy, or a “drum solo”, my mind musically get right quickly. Get into more
and spirit are about “saying something” complicated grooves as you develop. Final example: *Listen to “Glorious” on
that will touch the hearts of the people and Paul Baloche’s new project.
hopefully touch the heart of God. Why is simple good? Because I said
so, that’s why! LOL… Actually, because
But I also believe that just keeping good being busy is not what most contempo-
time touches people. As my friend Don Pot- rary popular music requires. Especially in All For The Glory of God,
ter says, “Worship is in the groove.” …An- modern worship! Check out Paul Baloche’s Blessings on your groove,
other great quote from an inspiring worship recordings. He is constantly asking me to
leader. play less. The song “I Will Boast” is a per-
fect example. Boom, Bap, Boom, Bap!!! Carl Albrecht has been a
So, how do I practice and teach groove Straight ahead grooving is what Paul likes, professional drummer & per-
exercises? along with simple fills. If I do something cussionist for over 25 years.
too syncopated he usually let’s me know He has played on over 70
The best exercise for time keeping I’ve it’s not working for him. HUGE NOTE: If a Integrity Music projects;
used is still the 8 bar phrase study. Start drum idea interferes with a vocal line it usu- Maranatha Praise Band recordings &
your metronome; listen for 2 bars, and then ally gets changed. **Check out the songs numerous other Christian, Pop, Country,
play. Don’t change anything for eight mea- “Because Of Your Love” and “What Can Jazz & commercial projects. He currently
sures. REALLY! Most of my students struggle I DO.” lives in Nashville doing recording ses-
with this. They want to play a fill at the 4th sions, producing, writing and continuing
bar, or start changing the feel as they play. Yes, I do have to remind myself. I also to do various tours & seminar events. Visit
DON’T DO THAT. Play one idea, consis- forget this sometimes. But the bottom line is his website: www.carlalbrecht.com or
tently, for 8 bars. You can then do a fill in to make the singer feel great, and to help send an e-mail to: lmalbrecht@aol.com.

10 JANUARY/FEBRUARY 2011 WORSHIPMUSICIANMAGAZINE.COM

 Keyboard

By Ed Kerr Let’s go one step further with these major chords. You could play

Playing With Color

them as a (no3) chord or 5 chord. Just 2 notes in this one. The 5 in this
chord name refers to the interval of a fifth between the two notes that
you play. Again, this is distinct from the chord built on the fifth note of
the scale.

(no3) or 5 Chord Notes of (no3) or 5 Chord

1. D(no3) or D5 D A
I was privileged to be part of the team for Integrity Music’s 4. G(no3) or G5 G D
seminars4worship events in October and November of this 5. A(no3) or A5 A E
year. Besides playing keyboard in the worship times with Paul
Baloche, Kathryn Scott and Brian Doerksen, I taught several An especially beautiful color can be given to the A major chord in
classes for keyboard players. I’m asking myself if there was any the key of D. It’s the 5 chord in the key. Note that this is distinct from
particular point in what I taught in my classes that seemed to the 5 Chord described in the section above. There I’m talking about a
most resonate with people, anything that people regularly made chord containing no 3rd. Here I’m talking about a chord built on the 5th
sure and write down on their handouts. I think it’s safe to say that note of the scale. So, for this A chord, rather than play its A C# E or
this would be some content from my “Beyond The Chart” class. even the A2 chord’s A B E you can make this chord an add4 chord.
I’ll summarize it here. This chord involves the 3 notes of the chord with the addition of a 4th
above the root of the chord.
You and I minister regularly playing songs whose chord vo-
cabulary is fairly limited. You could list all the chords used in the Chord Standard Chord A2 A(add4)
songs included in your most recent worship set and I suspect that 5. A A C# E A B E A C# D E
the total number of chords in each song would be a relatively
small number. For example, here are the songs we used at my If you sit at your keyboard and play these three options for the A
church last Sunday: chord, you’ll hear quite a contrast, especially when you play the (add4)
chord. This chord is quite dissonant, involving that C#/D minor sec-
Title Number of Chords ond. That dissonance is one of my favorite characteristics of this chord.
Desert Song/Fraser 5 Chords It begs to be resolved in the next chord played, and adds great linear
Oh You Bring/Crocker 6 Chords momentum to your arrangement.
Hosanna/Fraser 7 Chords
Jesus, You Are Worthy/Brown, Williams 6 Chords One final type of chord you can color is the minor chords in your
key. In any major key the 2, 3 and 6 chords are minor chords. Of
Obviously, the arrangements you and I use will rarely be the same, these, the 2 and 6 are most often seen in our worship songs. Below
so my total of chords used can vary from what you might play. The you’ll see the basic chord and two options you have.
bottom line, though, and what proved significant to those attending
my seminar classes, was that there are certain liberties we take with Chord Minor Minor 7 Minor 7(add4)
the relatively few basic chords of our songs to give them the color and 2. Emin E G B E G B D E G A B D
character of what we hear on modern worship recordings. 6. Bmin B D F# B D F# A B D E F# A

I’ll use one of my church’s favorite Brooke Fraser songs, “Desert So, let’s look at the original progression from “Desert Song” and
Song”, for my examples below. Here is the progression heard in the color it a bit.
intro and verse of the song in D major.
Original: Bm A G D
Bm A G D These chords can, of course, be played lit- Colorful: Bm7 A(add4) G2 D5
erally. The notes used would be
One of the interesting things that results from coloring the progression
B B D F# If you were to play only these notes, there’s this way is that the note “D” is found in all of these chords. Knowing
A A C# E no question that your vocalists would know that, think about what voicing you want to use for your chords. In other
G G B D what pitch to sing when they make their first words, where are you going to place the various notes of the chords
D D F# A entrance. The congregation could sing along under your fingers? Let me suggest that you put the 5th finger of your
for sure. But, the musical character of your pre- right hand on the D above middle C. Then play an A below that D.
sentation would be significantly less rich than what you’ll hear if you These two notes can be played for all of the chords involved. The only
listen to the Hillsong recording from the “This Is Our God” CD. Let’s change you’ll need to make is adding the C# between the D and A
look at how you can go beyond the chart to enrich the character of the when the A(add4) chord comes around.
chords. To keep this short enough to be practical for the space I have,
I’ll give fairly brief explanations of the concepts involved. Some of you may read these paragraphs and think you could never
be comfortable applying the concepts in a real world playing situation.
The chords in any key can be numbered 1 through 7 based on You might start by figuring out the key of your song. Visit my website,
which note of the scale serves as the root of the chord. That said, the kerrtunes.com, to find a table that can help you quickly determine the
1, 4 and 5 chords in any major key are major chords. To give these notes of the scales for the songs you’re playing. Give each chord in
chords color, you could choose to play them as 2 chords. This is distinct your song’s chart a number according to the key. That information can
from the chord built on second note of the scale. Hang in there while I help you decide whether to color your chord as an add4 or any of the
explain. The 1 chord in the key of D is spelled D F# A. To make this a other options you see above. You’ll start hearing a richness of color in
D2 chord you’d play D E A, leaving out the 3rd of the chord and play- your playing you hadn’t heard before. It’s worth the effort!
ing the second instead. This table will clarify this for you:
As a songwriter Ed has written over 100 songs
Chord Notes Contained 2 Chord Notes of 2 Chord with Integrity Music. He has a Masters Degree
1. D D F# A D2 D E A in piano performance. Ed and his family live in
4. G G B D G2 G A D
5. A A C# E A2 A B E Washington State. Ed plays Yamaha’s Motif XS8.
www.kerrtunes.com

12 JANUARY/FEBRUARY 2011 WORSHIPMUSICIANMAGAZINE.COM

 W ith our new free iPad app,
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THe STrInG experTS


I remember when I got my first bass.
It was a 1971 Fender Precision (great
Christmas present). After that bass sur-
vived mishandling, experimental tuning,
scotch tape, etc., out of necessity I would
have my bass worked on from time to
time. I would have new strings put on
and the bridge/neck adjusted, among
other things. When I saw it done I began
to ask a lot of questions about mainte-
nance and picked up a lot of tips along
the way. Eventually, I learned how to per-
form basic maintenance on my basses.
Over time I learned what string height I
liked, pick-up height worked best for me,
and so on. I also learned how to change
strings and how to set my intonation. I
have personal preferences for all of those
and I would like to share them with you.
Hopefully, you will be able to save a little
money by doing some of these things
yourself, but please don’t attempt any-
thing that you don’t feel comfortable with.
Changing Strings
The best way to learn how to change
your own strings is basically to recreate
the winding pattern of the string you re-
moved. You can take the string off and
lay the new string next to the old, taking
notice of the length of the string. Simply
take a pair of wire cutters and trim the
excess off the new string to match the old
string’s length. Then you thread the string
through the bridge (or through the body
if your strings are strung through it) and
insert the end of the string down through
the hole in the middle of the tuning peg.
Begin to wind the string around the peg
(from top to bottom) by turning the key
to tighten the string until the string is tight
and up to pitch.
A couple of interesting, more advanced
tips I have learned are, first, be sure and
change your strings one at a time if at
all possible. The “stress on”, “stress off”
effect of loosening all the strings at once
can have negative consequences for the
bow of the neck. Secondly, when tighten-
ing the new string make sure that the ball
of the string can “spin” as you tighten the
string. Sometimes, if you don’t do this,
you can “bind” the string, which will pull
the winding apart somewhere along the
string. You won’t be able to see it, but the
effect will kill the liveliness of the string.
You will think you got a bad string, but
what really happened was that the string
pulled apart slightly, just enough to “zap”
it.
String height
The action I like generally is medium to
low – about a quarter of an inch off the
neck. I usually like the “G” string a little
lower than the rest for some reason. The
only way you can achieve low action is
by using heavier gauge strings, or by find-
ing a way to increase the string tension,
such as a string tree (a string tree is a bar
that goes across the strings just above the
nut and is attached to the head-stock. It
makes the strings cross the nut at a steep-
er angle, thus creating higher tension.).
Typically, the way I adjust the height is
by adjusting the saddle screws a half turn
at a time – one side, then the other. I
also look closely to see if the strings are
evenly “arched” over the fret board, just
at the bottom of the neck. If one string
is the same height from the frets as the
next string, it should have a very even
looking arch. The most important thing is
how it feels, so every time you do an ad-
justment, tune it up and play it. You will
eventually figure out what you like.
Pick-up Height
After you get the string height to your
liking, you have to make sure that the
pick-ups are at the proper distance from
the strings. First, look at the distance from
one pick-up to each string. If you have
“soap-bar” style or “blade” style pick-ups,
there will be one or two screws at both
ends of the pick-up. If one side looks too
close to the strings, you can lower it by
tightening the screw on the close end. If
there are two screws, adjust them both
evenly so that the pickup surface remains
parallel to the strings. If you have two
pick-ups, then simply repeat the same
procedure on the other pick-up. If you
have a “split” pick-up, (as on a Fender
Precision, you will do those same adjust-
ments for each half of the pick-up. Typi-
cally with a split pick-up the end result
will look like the pick-up is in the shape
of a very slightly slanted rooftop with the
peak in the middle. Depending on the
make or model of the pick-up, that kind of
“shape” may not be necessary because
the magnets inside could be arched to
compensate for the curvature of the neck.
Again, the most important thing is the
way it feels and sounds, so play often
while adjusting.
Intonation
If you are a beginning to notice that
whenever you play notes high up the
neck and they are out of tune, then your
intonation is off. That simply means that
the length of the string does not quite
match the spacing of the frets. To cor-
rect this problem you will need a tuner,
a screwdriver (probably a cross point),
and your fingers. Start in the G string,
playing the open string and tuning it with
your tuner. When it is in tune, play the
harmonic at the 12th fret. You will notice
that it is in tune according to your tuner.
Then gently press down on the 12th fret
and play the fretted “G” note. Look on
your tuner to see whether it is sharp or
flat. If it’s in tune then you’re ok; no adjust-
ment needed. If the tuning of the fretted
note is flat, that means that the string is
too long. To fix this take your screwdriver
WORSHIPMUSICIANMAGAZINE.COM JANUARY/FEBRUARY 2011 15
Bass
By Gary Lunn
Tech Tips
and insert it in the screw on the back
side of the bridge near where the ball
of the string is. Simply loosen the screw
one full turn so that the saddle under the
G string moves toward the base of the
neck, away from the bridge. This will
make the string shorter thus raising the
pitch of the fretted G. Re-tune the open
G, play the harmonic and then play the
note fretted. You should notice that the
pitch of the fretted note has risen when
compared to the harmonic. Repeat those
steps until the fretted note is exactly the
same pitch as the harmonic. If the fret-
ted note is higher (sharper) than the har-
monic, then follow these same steps as
the flat note. The only difference is that
you want to make the pitch of the fretted
note go lower, so you need to tighten the
adjusting screw, thus making the string
longer as the saddle moves toward the
bottom end of the bass. This will make
the sharper fretted note come down in
pitch. Adjust this until the fretted note is
the same as the harmonic.
Excellence in Tone
In a worship team, we must be respon-
sible for our instruments, making sure that
they sound good, have fresh strings, and
play consistently from string to string.
Also, if you have never had the frets
dressed (the string pits caused by string
wear filed down and leveled) and your
bass has a buzz at a particular fret that
won’t go away, shop around between
different guitar repair shops, find a price
you are comfortable with, and have it
done. Your frets will actually last longer
if you have them dressed.
A Prayer
I feel I should end by sharing one of
my favorite scriptures from the “Ampli-
fied” translation. This is something that I
pray every day.
John 14:27 “Peace I leave with you;
My [own] peace I now give and be-
queath to you. Not as the world gives
do I give to you. Do not let your hearts
be troubled, neither let them be afraid.”
Be blessed!
Gary is a session player/
producer/writer in Nash-
ville, playing recording
sessions, and various live
events. www.facebook.
com/garylunn
 Vocals

By Sheri Gould with regard to their commitment to the

Auditions:
team and their craft?

Now please hear me out. I’m not de-

A Good Thing for Your Team?

void of a heart or ignorant of the fact that
we are about ministry, neither am I about
getting the best “performance” out of our
people. But I am dismayed at how flip-
One of the things I suggest to worship We need more than someone with just pantly people view their service toward
leaders and pastors, when I teach on the “right heart”. If we’re planning to put the Lord in this capacity. I know the wor-
how to “Take your Worship Team to the them in front of a microphone, they need ship leaders out there reading this are
Next Level”, is to audition their teams ev- to have a level of talent as well. Let me ex- acutely aware of the disparity between
ery year. There are many benefits to this plain. My neighbor may be the sweetest the commitment they personally have and
and I’d like to articulate some of them. guy in the world. He may really WANT to the commitment they wish their fellow
help me fix my car. He may have all the team members all had. If people had a
Inclusion right intentions, but without some knowl- more realistic view of what their service
Believe it or not, there may very well be edge of how to actually fix my car, he really means to God and to their fellow
people in your church that have the talent, may end up doing more damage than worshipers, they might take what they do
ability and desire to serve on your wor- good. Conversely, I can go down to the on a Sunday morning platform more seri-
ship teams—that you don’t know about. local garage where the guy is really tal- ously.
Many people think that just because these ented when it comes to mechanics but he
people haven’t made themselves known, has a terrible attitude and charges me too Consider for a minute, what the mind-
they don’t exist. much! The ideal situation is to find the set was like when your team members first
right mix of knowledge and heart. had the opportunity to sing on the team.
It has been my experience that people They were likely excited, perhaps a little
don’t always feel “welcome” or feel that I have heard from far too many wor- bit nervous, but so happy to be a part of
there is an open invitation to join the ship leaders that they have someone on the ministry! Contrast that with how they
church worship team. Many times our their team that has the right heart but approach that same opportunity today.
teams can seem like exclusive clubs that sings completely out of tune. What are It’s human nature to move toward com-
one must be invited into-which in a sense they to do? First of all, there’s a very good placency as things become more regular.
they are. But our worship teams can even chance that this “someone” never had to Having to stay on top of their craft and re-
have a “cliquey” feel or look to them. This actually audition for the team. An audi- new their commitment each year can help
is not something we want to project, al- tion would have cut this problem off at alleviate some of that natural tendency
though many times we end up doing so. the pass—long before it ever became a and keep their outlook fresh. Think about
By having regular times that we open up problem. This could have, SHOULD have it like this: how would you feel if you had
the doors to give others an opportunity been a NON issue. Now it has to be to interview again for your present job?
to be involved, we can do a lot toward dealt with delicately. I will offer some solu- You might get a little more serious about
changing that perception. Most pastors tions to this, and other issues like it, in my how you perform your job. At a minimum
and worship leaders are very interested column next time (so stay tuned). For now, you might bone-up on your skills so that
in getting people involved in and com- let’s just say that eliminating these types if questioned or re-interviewed you could
mitted to ministry so if handled correctly, of problems can be one of the upsides at least look like you’re the best one for
your pastor(s) will likely be supportive of to auditioning team members. All team the job.
the auditions once he realizes the poten- members should have the same standards
tial for ministry growth and involvement. applied and those standards should en- I’m thinking there’s no real downside to
compass all relevant issues. Spiritual is- making everyone aware that each year
So my number one reason for hav- sues of the heart need to be addressed the team members will all be re-evaluated.
ing regular yearly auditions is because as well as musical proficiency. They may very well be qualified to serve
it opens up the possibility to get more again, but the chance is also there that
and different people involved in serving If we have standardized requirements they might not. My goal is not to scare
where they’re gifted. for our teams, then it’s much more likely or discourage them but to energize and
that the overall quality of our leading, vo- encourage them to continually reach for
Finding “Talent” cals, musicality, etc will go up. If there greater goals as a singer, worship leader
Another reason I’m in favor of audi- is more control over what goes into (or and team member.
tions is that they can really help us to take onto) our worship teams, there will be
things up a notch. Including more people, more control over what comes out of our Next time I’ll talk about how to make
or at least allowing them the opportunity worship teams on a Sunday morning. your auditions effective and how to turn
to participate, is only one part of the ben- no one away! We want this to be a posi-
efit of regular auditions. We may also Stepping It Up tive experience for everyone involved!!
find some really great hidden talent! We My last reason for suggesting auditions
need to find and draw those people who for your team is so that each and every
are gifted in the area of music. I know we member of the team will be continually
need our worship team members to have reminded that it is a privilege to serve Sheri Gould has a BS in
the right heart and motives as well. Be- on the team-not a right. There are far too Music Education (Vocal/
cause of this, I get this question frequently: many people on worship teams all over Choral) from the University
“What’s more important, talent or heart?” the country who believe that they deserve of Illinois. A church music
To which I say, “Yes.” You know how it their position on the team for any num- director (Choir/Worship
says in James that faith without works is ber of reasons, not necessarily because Leader) since 1985, she also teaches
dead? Well, the right heart without talent they are qualified. What would happen vocal techniques at various workshops
is…well…”dead” in a sense, at least for to their mindset if they thought they could around the country. Send your questions
purposes of leading worship. lose their position; if they didn’t step it up to: sherigould1@aol.com

16 JANUARY/FEBRUARY 2011 WORSHIPMUSICIANMAGAZINE.COM

 EXPERIENCE MORE .: CONNECTION :.

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 Product Review

By Doug Doppler

Line 6 POD HD500

It’s pretty rare to walk into a Church HD500 in just about every way imagin- Edit software. The latter of which allows
and not see at least one Line 6 product able. you to archive old set lists for future use.
on the worship platform. The HD500 is
Line 6’s biggest and best offering to date. What About The Tones What’s It Improved With HD500
I had an extensive amount of time to With some new competition on the
What Is POD sit and play through the HD500, and in scene from some other formidable com-
POD got it’s start in a kidney shaped the process developed a few favorites petitors, the engineers at Line 6 really
device Line 6 started shipping a decade models. The lush AC30 model is the first wanted to deliver stellar sounding amp
or so ago. Since then it’s stayed pretty place I’d suggest starting for praise and and effects models that feel great when
true to the basic concept - great amp and worship, as it takes to effects like a fish to you play them live. Knowing that speaker
effects models that sound killer running di- water. The Fender Twin model does an modeling can only go so far, the L6 LINK
rect into a DAW or PA. excellent job of capturing that bubbly low is perhaps the real story here. Line 6’s
end that really defines the Twin. The Tube new Bogner designed DT50 amplifiers
What’s In The HD500 Screamer model did great into the front interact with the HD500 in ways that tra-
end of the AC model, and it also took the ditional modeling just can’t keep up with.
The HD500 has a really great feature Park Plexi model perfectly over the top, If you switch to an AC-30 model on the
set that offers a lot of options both in the especially with some reverb and delay! HD500, the DT50 will switch into Class
studio and on the worship platform. The A mode. If you select a Fender model, it
sixteen HD amp models in combination Best New Feature knows to switch to class A/B. When pair-
with the 100+ effects models make craft- The real show stopper is the ability to ing the HD500 with the DT50 it’s gener-
ing a wide range of tones a snap. If the easily configure and manage set lists. Or- ally best to just use the pre-amp section of
512 presets aren’t enough, you can al- ganizing presets is always a bit of a chal- your pre-sets. And again, this is where the
ways use the HD500 Edit software to back lenge, and the HD500 makes managing ability to create multiple set lists becomes
up your tones as well as deep edit them. this process refreshingly simple. There are really useful.
The dual 1/4” inputs make for seamless a total of eight Set Lists, each of which
transitions from electric to acoustic electric can store up to sixty-four presets. Now Conclusion
when you need to feed signal FOH. The you can save or select your tones by set As a stand alone unit and especially
XLR input with mic pre-amp means you or style in lists that are a snap to update in combination with the DT50, the POD
can also use the HD500 as your lone by using the “move” function, which can HD500 is a real winner.
audio interface. Various other I/O con- be accessed on the unit itself or
nections like aux in, balanced XLR out, via the HD500 List Price
MIDI in and out, S/PDIF out, USB, and HD500 $699.00
L6 LINK allow you connect the www.Line6.com

Doug Doppler is signed

to Steve Vai’s Favored Na-
tions label and is currently in
production on the Get Killer
Tone DVD series. He and
his wife Melissa live to serve the Kingdom
and are members of Cornerstone Fellow-
ship in the San Francisco Bay Area.

18 JANUARY/FEBRUARY 2011 WORSHIPMUSICIANMAGAZINE.COM

 ...for Christian musicians, leaders, songwriters, indie artists and
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lin
With

He may have taught himself guitar by playing along to Willie Nelson

songs, but now this songwriter’s copious music fills churches all over the
world. From the beginning, Chris Tomlin’s M.O. has remained the same;
to ignite passion for the name of God. He continues that mission with his
latest effort, “And If Our God Is For Us…” Here’s what Chris had to say
about his new album and his life in general.
photos: Lee Steffen

20 JAN/FEB
20 2011 WORSHIPMUSICIANMAGAZINE.COM
JANUARY/FEBRUARY 2011 WORSHIPMUSICIANMAGAZINE.COM
 Aimee Herd: Chris, your new project CT: Yes, the recording location was thing we’ve ever done. I’m blown
is your 7th studio album “And If Our at our new studio called, “White away by that!
God is For Us…” That’s kind of a Cabin Studio,” which is adjacent to
loaded question for a title. How did my house, on our property. We kind AH: That sounds really good, but I’m
you arrive at that? of remodeled and had everybody glad that it’s “still you,” because your
help out. It’s just so beautiful and sound is what so many have come to
Chris Tomlin: Yeah, I love that. First relaxing. I’ve always recorded my love over the years.
of all, it’s the bridge to “Our God,” albums in Nashville, and Ed Cash
which has become such a special produced most of my recordings. He CT: Right...I didn’t want to make a
song. Every time we play that song was a part of this recording, along total departure and do something
and get to the end of that chorus, it with producer Dan Mukala. They completely different, because that’s
just lights the place up, it just comes came here and set up shop, and we not what it’s about at all. Hopefully,
alive. People have their hands up, as recorded it here—in the backyard to some, this is just a nice surprise.
in a statement of faith. I had different [studio].
titles for the album, but I kept coming AH: What are some of the techniques
back to this for the title. This is what AH: And this was the first time you’ve that Dan helped to incorporate in
I want to say, and this is what the worked with Dan, right? mixing things up?
music’s about anyway.
CT: Yes, I met Dan just before CT: Like the drum programming
The thing about it is, it’s not a clever [recording] the album, and I was together with live drums—Ed did
lyric that I wrote, but it’s the Word of looking for something a little different. that as well—and some interesting
God. Scripture says, “If God is for To think that we could make that string parts that are way more “in
us, who can be against us?” It’s so many albums and people would still your face” vs. lush beautiful strings.
powerful to know that. When people be interested is pretty cool. But, I Especially for “Our God,” and also
see that title, “And If God is for wanted to keep taking steps forward, on “I Will Follow.” But, that beat was
us...” I want them to think, “There’s so I thought it would be good to mix it so huge—the programmed on top of
something else coming.” And that up a little bit, and someone else’s ear live drums—it’s got so much energy
faith would rise up in them and give in here—someone else’s fingers in and it’s so big.
people hope. ...And people would here and their ideas. Through some
believe that no matter what comes relationships, I met Dan and he was AH: Now, you’ve co-written a couple
at them, “If God is for me, what can a perfect fit. I really enjoyed working of songs on this album with some
be against me? Nothing can stand with him; he’s done a phenomenal new people. How did that go?
against me if God is for me. Yes, job on the album.
things might bring me down, things CT: Yeah, I wrote with Jason Ingram;
may come at me and arrows may be AH: So, sonically, what sets it apart I had met him just before. People
shot at me from life, but God is for from previous recordings? And, is told me, “You’ve got to meet this
me.” That’s something to build our that difficult to do after doing so guy, he’s the best. You guys will hit
hope on, and that’s a God worthy of many projects—to get that different it off.” I had heard his reputation,
worship. sound or slightly different direction in and knew he wrote great songs. We
a new one? wrote together for a little bit, and it
I thought, well it’s a long title for an was some of the best writing days of
album, but I really like what it causes CT: You know, it’s still me. I mean, you my life. I had that moment where you
in people. can only do so much. It’s the way you feel like God is just writing through
filter music; it’s the way music comes you. It was like that with Jason;
AH: I like it too, because I think we all out of you—so it’s not that much songs just kept coming. [Jason] had
need to be reminded of that from time different, but it sounds a little different. so many great ideas and so many
to time, and especially now; I feel that There’s a bit more energy in it, and a thoughts; we were just worshipping
people really need that kind of hope. bit more beat. It’s got drums that are God together... God really put that
programmed along with live drums. together in a special way.
CT: Exactly, and that’s the heart My music in the past has been a
behind it. little more organic, but with this, we The song, “I Will Follow,” is a song
brought in a lot of different elements. Jason and Reuben Morgan had
AH: Now, your actual recording That was a good step; I feel like it’s started writing together, and then
location was different for this the best thing we’ve done so far. I’ve “Awakening” is a song Reuben and
album... had so many people, through Twitter I wrote together. (Reuben’s one of
and otherwise, say this is the best the most prolific songwriters for the

JAN/FEB 2011JANUARY/FEBRUARY
WORSHIPMUSICIANMAGAZINE.COM WORSHIPMUSICIANMAGAZINE.COM
2011 21
21
 A Sit Down With Chris Tomlin: continued

CT: The writing process looks like this:
sometimes I have an idea, sometimes,
I’m just finishing an idea. We’ve
been getting together as a team to
write for Passion and to write for our
church. We’ll get together—6, 7 or 8
people—at my house or in the studio,
and we’ll divide up in 3’s and talk
about what God’s been putting on
our hearts. We’ll talk about what we
want to say, and what kind of songs
need to be written. Then we’ll come
back and play our songs for each
other—it’s just a big collaborative
effort. So, we’ll have those times once
every couple of months, where it’s
always incredible. And, other times
I’ll have a song that I’ve written on
my own.
process of ideas and thoughts. I do
best with writing with other people
vs. writing by myself. When I’m in a
room with people you just run with
them, throw out ideas and say, “What
about this, what about this...?” That’s
the thing about songwriting, you’ve
just got to go for it and say, “This may
be really dumb and bad, but here’s
my thought...” You’ve got to dare for
it not to be any good. So, when I’m
writing with people, it’s energizing
for me, and I love it.
AH: Are there a couple songs in
particular on the new album that
really stand out to you, in how they
came to be written, and how they
turned out?

Church today) So, Jason brought [I
Will Follow] and said, “There’s this
song that I wrote with Reuben, and
I know it’s not really your cup of tea,
but I’ll play it for ya.” He played it
and it was amazing, I was like,
“Oh my gosh, what do you mean,
man, I love it! Let’s finish writing this
song.” They were just some great
days of writing with a great team.
This album is filled with an amazing
team: Jason, Reuben, Louie [Giglio],
Matt Redman, Christy Nockels, Matt
Maher, Jesse, Daniel and my band—
whom I’ve always written with—Ed
Cash... I mean, when you those kind
of people writing the songs, it’s just
going to be something special.
AH: Wow, absolutely! So, how does
that writing, co-writing process go?
Do you normally bring an idea for
a song that’s already been slightly
mapped out? Or do you start from
scratch with whoever’s helping you
write?
AH: You mentioned all those people— CT: “Our God,” is such a standout
Louie Giglio, Matt Redman, Nathan song, and the way it was produced
and Christy Nockels—I know that you is so beautiful. It was originally on
guys are all a part of the Passion City the Passion album “Awakening” and
Church... how is that going? to put it on this [new] album and
open up with it... [we thought] how
CT: It’s been over two years now, and do you re-record this song? Do you
it’s amazing. It’s in Atlanta, Georgia— do it exactly the same, or if you do
I moved here to Atlanta to help plant it differently, it’s got to be something
the church. It’s a great season, with special. So, when Ed came with the
strong people who are forming our idea of the strings carrying the song,
community. It takes a while for people it was a little scary like, “I hope we
to make that decision on whether this don’t ruin the song.” But it [came out]
is where they want to be. It’s been so awesome; the way it was done
one of those stages where we’re took it to even a stronger place if
seeing who is really with us, and that was possible. So, that was really
who is coming—just spectating and cool.
checking it out. That’s where we still
are. And then the song, “I Lift My Hands,”
is really special. It’s a powerful song
AH: So, do you all hang out together that started with Louie, he gave me
too—apart from recording and the opening lines, he said: “I’ve been
church? Barbeques, etc... singing in the night, I’ve been crying
out to God amid struggles in my
CT: Yeah we do, it’s a great own life. These are times when I find
friendship. myself in bed just singing these words
to God. ‘Be still, there’s a Healer, His
AH: You’re such a prolific songwriter, love is deeper than the sea. His mercy
how about some songwriting advice... is unfailing, His arms a fortress for the
do you ever run into writer’s block, weak. My Savior, I lift my hands to
and if so, how do you get past it? believe again...’” [Louie] told me, “I
really don’t have a melody, but here
CT: [Songwriting] comes in waves for are these words.” I said, “Man, these
me; there are days where I don’t really words are strong!” You’d expect a
have anything, and there are other worship leader to have a song titled,
times when I do. It’s just an ongoing “I Lift My Hands,” (laughs) but this is

22 JAN/FEB 2011 WORSHIPMUSICIANMAGAZINE.COM

22 JANUARY/FEBRUARY 2011 WORSHIPMUSICIANMAGAZINE.COM
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 A Sit Down With Chris Tomlin: continued

and rewriting a verse or rewriting

the song until you feel like it’s really
right. Most songs are a process.
Letting other people speak into it is
a foundational thing for me, and
being open to hear people’s thoughts
[on it]. You can’t hold it too tightly
to yourself. I heard a songwriter say
this once, and it’s always meant a lot
to me, he said great photographers
can look at the same mountains and
take a picture a different way, and
show a different angle. Songwriting
is the same. We’re all writing about
the same glorious God, and using the
same Scripture, but good songwriters
can say it in a different light, with a
different thought. And, finally, just
keep writing. You don’t wake up one
day and are suddenly a songwriter.
You keep doing it, and doing it.
You’re going to write way more bad
songs than good songs—just know
that and have peace with it! (Laughs)

AH: To get a little technical, what is

written a different way. This isn’t lifting AH: Sometimes it’s the songs that the gear that you prefer most to use?
our hands in a victory celebration; aren’t necessarily “radio-friendly”
it’s lifting our hands in the midst of a that are the most powerful on an CT: I use Collings Guitars; that’s what
struggle. Psalm 28 says, “Hear my cry album. I’ve played the last several years. We
for help, I cry to You for mercy, and I use Roland and Yamaha pianos; both
lift my hands to the Most High...” and CT: Oh yeah. But, beyond that, people are really great. And, we use Shure
that’s that thought of crying out to the who only listen to the radio will never monitors and mics. For all of our in-
Lord and lifting my hands to Him. I hear that song, so for people to say ear monitors and our microphones,
think everybody, at some point, can that they like it; I know they’ve bought Shure seems to work the best for us.
relate to that. the album. (Laughs)
AH: I know you just finished up this
And, “All To Us,” is one of my AH: I’ve heard Louie Giglio teach album, but do you have any specific
favorites too. It’s the biggest song before, and there must be such a plans for the future besides touring?
we’ve sung in our church, probably wealth of songwriting material you
this year. I hope it finds its way to can derive from his teaching. CT: Well, I just got married, so it’s a
worship leaders, and they like it too. new season of life!
I was asking people on my Twitter CT: Absolutely, that’s been the story of
which ones were their favorite songs my life for the last decade.
[on the new album], and—it’s funny To learn more about Chris Tomlin and
but—those three I mentioned, “Lift AH: Chris, your songs are being sung his new project; “And If God Is For
My Hands,” “All To Us,” and “Our in so many churches all around the Us...” and for videos and worship
God,” were the ones I received the world now. Can you share a couple resources, log onto:
most comments on. “All To Us,” is tips for worship leaders who may be www.christomlin.com
not really a radio song, but it’s just just starting to write their own songs
so powerful in what it says; “Let the for their congregation?
glory of Your name be the passion
of the Church...” that really holds the CT: It’s important to be really open
whole album together. That’s what I with your songs... I rewrite a lot, I’ll
want to say in all of my music. have a song and think, it can be
better than it is. It’s coming back

24 JAN/FEB
24 2011 WORSHIPMUSICIANMAGAZINE.COM
JANUARY/FEBRUARY 2011 WORSHIPMUSICIANMAGAZINE.COM
lead sheets / guitar chord charts / audio

great songs / great songwriters

free promotions / easy / quick

 Songchart

I Lift My Hands
CHRIS TOMLIN, LOUIE GIGLIO, and MATT MAHER
KEY OF [Bb]
G C% Em7 D C/E Em G/B C Am7 C2 Dm7 F/A

Capo 3rd fret (G)

G C% Em7 D VERSE 2 cont.
(repeat)

Am7 C
VERSE 1: Let faith arise,
G C/E Em7 D
Be still; there is a heal - er. Let faith arise.
Em D
His love is deeper than the sea,
G/B C (repeat CHORUS 2x)
His mer - cy is unfail - ing,
Em D
His arms, a fortress for the weak. BRIDGE:
Am7 C G
Let faith arise, Let faith arise, let faith arise.
Em7 D Em7 C2
Let faith arise. Open my eyes, open my eyes.
G/B
Let faith arise, let faith arise.
F/A C2
CHORUS: Open my eyes, open my eyes.
G
I lift my hands to believe again.
Em7 C2 (repeat CHORUS 2x)
You are my ref - uge, You are my strength.
G/B
As I pour out my heart, these things I remember:
Dm7 C2 G C% Em7 D
You are faith - ful, God, forev - er.
G C% Em7 D G C%
Let faith arise,
Em7 D
VERSE 2: Let faith arise.
G C/E G
Be still; there is a riv - er
Em D
That flows from Calvary’s tree.
G/B C
A foun - tain for the thirst - y,
Em D
Your grace that washes over me.

© 2010 WORSHIPTOGETHER.COM SONGS (ASCAP), sixsteps Music (ASCAP), VAMOS PUBLISHING (ASCAP), SPIRITANDSONG.COM PUBLISHING (BMI)
and THANKYOU MUSIC (PRS) WORSHIPTOGETHER.COM SONGS, sixsteps Music, VAMOS PUBLISHING and SPIRITANDSONG.COM PUBLISHING
Admin. at EMICMGPUBLISHING.COM THANKYOU MUSIC Admin. Worldwide at EMICMGPUBLISHING.COM excluding Europe which is Admin. at kingswaysongs.com
All Rights Reserved Used by Permission

26 JANUARY/FEBRUARY 2011 WORSHIPMUSICIANMAGAZINE.COM

 Record Reviews By Heidi Todd

Hillsong Chapel called “unplugged” because it isn’t, ten by Thomas and Mary Beth Miller,
Yahweh but it’s a collection of previously re- copyrighted 2010. Nice!
leased songs that have been allowed
TRACKS (personal picks bolded) more breathing room without massive What follows that song caught me
1 Hosanna musical swells and epic waves of ap- a bit off guard - One Single Drop
2 You’ll Come plause. Just people doing what they features nylon-string guitar and string
3 Run do in church. LOVE IT. arrangements. It takes me back about
4 The Time Has Come twenty-five years to the trend that was
5 Saviour King Gateway Worship so prevalent in that era of worship
6 Yahweh God Be Praised music. Didn’t see that one coming on
7 Came To My Rescue what started out seeming like a more
8 Stronger TRACKS (personal picks bolded) youth-geared album. And then, the
9 This Is Our God 1 God Is With Us Now next song sounds like it was released
10 You Hold Me Now 2 Praise Him in Ireland. I had to go online to fig-
11 From The Inside Out 3 Victory ure out what was behind this range
12 Mighty To Save 4 Stay Amazed of styles. It looks as though they were
13 Salvation Is Here 5 O For A Thousand (Hallelujah) very intentional about bringing their
6 O The Blood entire worship team together to re-
Another great 7 One Single Drop flect the whole church. Makes sense
release that hits a 8 By The Grace Of God - there’s something for everyone here.
mark easily missed 9 Praise Is The Offering
in previous big pro- 10 How To Worship A King So, on the one hand, if you’re look-
duction Hillsong re- 11 Glorify You Now ing for an album with one type of mu-
leases. This cd puts 12 I Hear The Lord Passing By sic, one genre, move on. But if you’re
lyrics center stage, 13 Faithful God looking for an album that mixes mul-
which is great since 14 You Are For Me tiple genres together, this is spot on.
although they’ve historically been well 15 God Be Praised Indeed you’ll relate if you’ve recently
done, could be overshadowed by become a believer (the milk) and you’ll
their musicianship and arrangements. A highly kinetic feel at home if you’ve been walking
This cd gives the vocalists an oppor- release by Gate- with the Lord for several decades (the
tunity to be a bit more expressive and way Worship - meat).
approachable to the average singer. these are people
with boundless Kristian Stanfill
One of the best realities of this re- energy. Like previ- Day After Day - EP
lease is that it’s stripped down to an ous releases, you
instrument lineup more typically found can feel the team TRACKS (personal picks bolded)
in the average church. It doesn’t leaning in on the fast and mid-tempo 1 Day After Day
mean that the arrangements have songs. Thankfully only four songs in 2 Lord Almighty
been dumbed down though, which is they give the listener (or congregation 3 Always
a smart move. It allows for the instru- as the case may be) a chance to catch 4 Say, Say
ments other than electric guitar to have their breath on “Stay Amazed”. 5 The Stand
a more colorful voice and explore their
use a bit more. For instance, yes there While they’re usually most at home A very listenable
are acoustic guitar parts that are pri- in a youth worship setting, they’ve also album. Kristian
marily rhythmic, but are also pushed incorporated highly unexpected song Stanfill may be as
forward with more variety in tone and styles. And not the barely-recogniz- unknown to you as
style. able variety; they are clearly hymns he was to me but
even though they don’t sound stale. I don’t think things
If you have an opportunity to look at O The Blood, directly following “O will stay that way.
shots from the recording, you’ll see an For A Thousand” leave you scratching In addition to a pre-
inspiringly lit chapel with a small gath- your head and wondering how a song vious release and this EP, he has a full-
ering of worshipers; a scene not often that is delivered so straight from the length CD set to launch early 2011.
associated with Hillsong. But what a heart could be an established hymn?
welcome expression. This can’t be The answer it isn’t - it was writ- In this brief five-song collection, you
get a good cross-section of Kristian’s
approach and style. He’s youth-friend-
Overall impression ly, which is appropriate to his age
Average person could learn/participate on the first hear and background. Having been highly
involved in the Passion movement, he
Can be learned/adapted by a band of average skill is sincere and energetic and seems
Lyrical creativity and integrity comfortable in his genre of choice.
Hillsong Chapel Yahweh
Gateway Worship God Be Praised
Kristian Stanfill Day After Day - EP
Jesus Culture Come Away
Trent Live Burn Bright
highest marks

30 JANUARY/FEBRUARY 2011 WORSHIPMUSICIANMAGAZINE.COM

 Record Reviews

While his style won’t challenge your Jesus Culture gonna be wild, it’s gonna be great…”
previous experience with worship mu- Come Away When someone is this personal and
sic, his songs will slide right in with creative with lyrics it’s a good indica-
very singable, teachable songs. He TRACKS (personal picks bolded) tion of great things to come. And this
is contributing to a healthy volume 1 Come Away album doesn’t disappoint. By way of
of worship songs that people can 2 Rooftops interest-holding lead parts and melo-
feel comfortable with and participate 3 You Are My Passion dy lines, it is quickly set apart as a
with in many settings. That, in part, 4 I want To Know You uniquely expressed culture of worship.
is why the marks are a bit lower for 5 My Soul Longs For You
lyrics - there are some lines in some 6 Freedom Reigns A song that caused me to pull back
of the songs that I would push him to 7 Let It Rain a bit was “Freedom Reigns” which
rework. Not because they lack Biblical 8 Mighty Breath of God would probably make much more
integrity; he’s staying true to the Word. 9 Show Me Your Glory sense in a live setting. I appreciate
Only because all-too-familiar phrases 10 One Thing Remains the freedom that Kim Walker-Smith ex-
can be reworded to add creativity and presses throughout the song, however,
a personal touch, which is a necessary Let me start by she laughs intermittently throughout the
mark of boldness for an artist of his saying that this is track that should have probably been
caliber. the kind of album I pulled down in the mix (this also hap-
could easily annoy pens on one of my favorites “Show Me
That may seem strong, but at the co-workers with by Your Glory”. Because it is same each
core, I think Kristian’s heart as a wor- overplaying it. You time she does it (as some people’s
ship leader is right on - especially after know how that is laughs are) it can feel less spontane-
reading his point of view on the role of – you load a new ous and more contrived, which I’m
a worship leader. I have a fundamen- cd into your iTunes library or onto your sure is not the case. It can just feel
tal belief in him and look forward to MP3 player and it becomes your go-to that way outside of the context of what
greater risks in the future, seeing him album. This rarely happens to me but must have been a very powerful time
branch out as an artist as time goes lo and behold… of worship.
by.
The first song on the album features The power and guts behind Kim
lyrics like “I have a plan for you…it’s Walker-Smith’s voice reinforces the

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 Record Reviews

sense of authority that comes through well from one song church. This, in part, made me won-
even in a recording. Her leadership is to the next and der where the usual element of passion
well matched with Chris Quilala’s and features prominent was in this release. There was a lot of
they continue to push a Pentecostal vocals with a back- potential available here, I just didn’t
experience through beautifully mixed drop of digitized feel the impact that could have been.
production in a way that translates patches and acous-
successfully. Big enthusiasm for this tic instruments. De- That said, there’s some good raw
release! spite its billing as a material to work with and some inven-
live album, it sounds very clean and tive sounds that will pique the interest
Trent Live composed, particularly in the vocal of those who are looking for more
Burn Bright department. If not for the faint voices songs to add to their repetoire.
of people singing in the background
TRACKS (personal picks bolded) and clapping between some of the
1 Intro – All My Hope Is In You songs, you wouldn’t think you were Heidi’s background is
2 Now And Ever listening to a live album. primarily in worship and
3 Glorious Life production, joining her
4 Love Divine One of the things that caught me off first worship team at age
5 Radio guard was the strong 80’s influence twelve. Having been
6 I Will Hold On in their musical styles. It’s easy to pick on staff at a Northwest church since
7 Jubilee out a little U2, Pink Floyd and Springs- 2001, she is now works as assistant
8 Burn Bright teen influences but lacks those bands’ to the Northwest Foursquare District Su-
9 Walk Humbly heaviness. Without giving away my pervisor in Tacoma, WA.
10 Skin And Bones age too much, I appreciate the 80’s This fulfilling role has made it pos-
11 Keep Me Where The Light Is sound. I think the nod to that era helps sible for her to pursue her passion for
12 Unfailing Love keep the album interesting, however, it being in multiple churches, working
13 Perfect Sacrifice fell a bit flat in the mix and the ability with worship and production teams
14 Journey Home to capture a live experience. and sharing those churches’ innova-
tive ideas with as many other churches
This is a blend of radio play / I’m no stranger to Vineyard – used to as are interested through her website
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 FOH Engineer

By John Mills

The High Pass Filter, Your Best Friend

What is it? cially if they have the same frequency little more low frequency leakage by
A high pass filter, or HPF, is exactly content, but are different distances from turning this eq knob down.
as it sounds. It is a filter we can use the source.
on our soundboards that ONLY allows
the higher frequencies pass. It is some- Like I mentioned above. If the violin What you do here is similar to the vari-
times referred to as a Low Cut filter for mics were picking up the bass guitar, able folks. Listen to your instrument, and
a similar reason. It is also the most over it would be safe to say that the low fre- have them play some of their lower
looked tool in the sound engineers ar- quency leakage of the bass into the vio- notes. Turn down your low eq until you
senal. lin mics is not “in time” with the actual hear a substantial change in the sound
bass input. Which would result in some of the low notes. Then turn it back up
Where it’s found. of the bass guitar sound being compro- just a notch. You have now cleaned up
Some soundboards only have a High mised because of the out of time (or out any leakage from those mics similarly
Pass Switch which is fixed at a certain of phase) leakage into the violin mics. to how the folks with the variable HPFs
frequency, often 80Hz or 100Hz. This were able to.
includes most Mackie, Behringer, Allen What do I do with it.
& Heath and similarly priced consoles. If you are lucky enough to have a Why it cleans up the sound.
Usually, only on higher priced consoles Variable High Pass Filter the trick is to It’s actually not just about the leak-
do you find the most amazingly useful engage it and while listening to the vio- age. It is also about finding the holes
type… the coveted golden ticket… the lins play, sweep their HPFs up until you in the mix for instruments. If an acoustic
end-all-be-all… the “Variable High Pass hear their lower notes change. At that guitar is to be placed in a contempo-
Filter.” point, back it off just a little bit, and rary mix with electric guitar, bass, and
know that the bass guitar leakage has keys, then the low frequencies of the
The variable high pass filter is more been eliminated from the violin chan- acoustic are really not necessary. That
useful because it allows you to change nels. is not to say you should make it sound
the frequency where the cut off begins, like a swarm of bees, but the bass and
or more importantly where the lows no Did you follow that? By making the electric guitars are certainly more capa-
longer muddy up the bottom of our mix. HPF higher, but not so high it altered ble of providing low frequencies. So if
But rest assured, I have a little trick for the low notes of the violin, we have ef- the acoustic is also taking up that range
you folks not yet blessed with a variable fectively eliminated any lower frequen- in the mix, it is very likely that section of
HPF. cies from leaking into those inputs and the frequency spectrum will easily get
ultimately into our mix. clogged up.
Why we need it.
Well, simply put, the more low fre- What if I don’t have a Variable HPF How does it help the amplifier and
quencies allowed into a mix, the more or I have a fixed frequency one. speakers?
muddy or unintelligible a mix usually is. So you more moderately priced Eliminating any unnecessary low fre-
Mackie, Behringer, and other folks are quency content also helps our amplifi-
Let’s take a violin for example. For the feeling a bit left out at this point. I wish ers and speakers. Amps and speakers
most part the violin is made up of mostly we all had unlimited budgets to buy the pretty much do what we tell them. So
mids and highs. So if we have 4 mics consoles that had this feature, I realize if we have a sloppy low and low mid
on our violin section, we are probably they are expensive consoles, and sadly section of our mix, they will reproduce it
picking up a good deal of low frequen- I know how that one goes. just as we mix it, but if we clean up our
cy content from the timpani, bass guitar, mix by eliminating conflicting and extra-
kick drum, and so on. The problem is Here is the trick for you guys. Al- neous low and even low mid frequency
that the leakage from the other instru- most all soundboards have at least a content, we not only get a cleaner mix,
ments, into our violin mics, is out of time HPF switch that can be engaged. First we actually allow our speakers and am-
with any of the close mics on the low trick… engage it on all channels except plifiers to run more efficiently since we
frequency instruments. things like Kick, Bass, CD, Video, and are not asking them to reproduce con-
anything else that has the potential to tent that is not necessary.
Let’s take a short trip back to phys- make really low notes.
ics class. Sound is made up of waves, John
waves take time to move through air, Now since you do not have a vari-
and low frequency waves are longer able HPF what else can you do… well
than high frequency waves. Son if one you can use your low EQ to do a similar John is an 20-year vet-
mic hears two sound sources arriving trick. eran of the road and a
at the mic at different time, we can graduate of the school of
say they waves are out of sync. When The low eq knob on most of the con- hard knocks. If you are look-
waves are out of “sync” with each other soles at this price point are what is ing for down to earth train-
we have cancellations and/or addi- called a shelving filter. Which means ing for your volunteers why not send John
tions. everything below that frequency is at- an email. You can contact him through
tenuated similarly. So even though you www.TechTraining101.com
It is best to not have multiple mics still can not sweep it up to hear the low
picking up multiple instruments, espe- notes cut off, you can still clean up a

34 JANUARY/FEBRUARY 2011 WORSHIPMUSICIANMAGAZINE.COM

 Ministry + Artistry = Profitability? Creating your MAP™
By Scott A. Shuford
The Four P’s
Every business school teaches The
Four P’s in their basic marketing class.
The Four P’s are Product, Price, Place
and Promotion. There have been at-
tempts to expand the P’s but in the
end, these four areas completely en-
compass the basics of any business or
ministry. By the end of this article, you
will be equipped to “wow” your Bap-
tist preacher friends this four point “P”
business sermon.
Product is the mix of things you of-
fer. For musicians, the obvious prod-
ucts are songs and albums, but those
are not your only options. Songs can
generate royalties from publishing
and cash from Download/Memory
Stick/CD/Vinyl sales. What about
other product options? Concerts are
a product option. What song is con-
necting the most with your audience?
Those song lyrics can be turned into
art you can sell: art to hang on the
wall or wear on the body. We have
36 JANUARY/FEBRUARY 2011 WORSHIPMUSICIANMAGAZINE.COM
frequently turned song lyrics into best-
selling shirts for our Extra Mile Merch
clients. Songs or lyrics can also be-
come jewelry. Your VIP fan club could
be a product in your mix providing
extra music and discounts or special
meet and greet time with you. Another
product that has become very popular
for artists is the charity they promote
like OneVerse or World Vision.
Price is your pricing and offers
structure for all that product. Some-
times your price may be free. Free is
definitely a price. Most of the time,
your price structure will vary based on
the intersection between your cost and
what people are ready, willing and
able to pay.
Place is the stretch word in our ser-
mon… Place means distribution meth-
ods for your products. For most of your
products, distribution will certainly
start with the trunk of your car, and
will also likely include your web site. It
may include your church, local Chris-
tian stores, and other churches you’ve
served. Online options for music could
include retailers like iTunes, or music
subscription services like Rhapsody. It
may include music licensing through a
service like CCLI. Your lyrics may one
day be something you can license to
someone else just like VeggieTales has
done with their entire brand. Aligning
yourself with other organizations or
events can provide another place for
distribution.
Promotion, simply put, is getting
the word out. This is the area we will
dive most deeply into in future col-
umns. Social media, public relations,
radio, advertising, promotions, on-
line, offline, word of mouth, point of
purchase… all of these are Promotion.
With all of the new technologies from
the last two decades, promotion on a
large scale has become much more
complex as you try to sift through the
multitude of options that now exist.
Don’t worry about all that complex-
ity if you are following my thoughts on
God’s Growth Strategy as outlined in
my previous column. When you are
working on those concentric circles
of growth, promotion is much more
manageable. The basics of each area
of promotion are easy to pick up and
learn. As we progress through the
various promotional options, I’ll also
have a handful of No-Brainers for you.
So far in the MAP, we’ve talked
about your Mission, Fan Develop-
ment, the Non-Profit option, God’s
Growth Strategy and the basics of the
Four P’s. Next time we’ll start to go
deeper into Promotion with Social Me-
dia. Until then… J
Scott has led classes
for us at NAMM and the
Christian Musician Sum-
mit. He has been fea-
tured in Adweek and is
the CEO of FrontGate Media, the #1
culture-engage media group reaching
the Christian audience (www.Front-
GateMedia.com) and is the co-found-
er of Creator Worship: online radio
for worship leaders (www.Creator-
Worship.com). Email your comments
or questions to Scott@CreatorLeader-
shipNetwork.com.
Tune in
Creator Worship
Online Radio:
Teaching & Training
Hear it today… Use it tomorrow.
Programming includes:
WorshipTeamTraining.com
Tom Jackson
News from HearItFirst.com
Rick Muchow (Saddleback Church)
Richie Fike (Indie Extreme)
Tech Talk with Wade Odum
NewReleaseTuesday.com
and more…
Twitter: @CLNetwork
Facebook.com/CLNetwork
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 Authentic Worship
By Michael Gonzales
The Last Worship Leader
It is sometime in the near future. A virus
has decimated your community. You are
a worship leader, the only survivor in a
church of a few hundred people. It is Sun-
day morning and you open up the build-
ing in hopes that someone shows up. The
clock has struck 10a.m. and no one has
arrived- what do you do?
Even though this is far fetched, what
would happen if you were the only wor-
shiper in your church?
The point of this exercise is to simply
visualize this unusual scenario.
First of all, if this were a real situation,
I think the worship leader would be seek-
ing medical help or in seclusion to not
contract a virus. But in this case the wor-
ship leader has taken precautions and re-
alizes there are some survivors in the com-
munity, just not anyone from the church.
So we now come to the issue about
being the last worship leader.
The point is what if there was a wor-
ship service and nobody came. I think
some worship leaders get caught up in
the performance. I know of a worship
leader in a staff meeting who was upset
that for the second week in a row the fog
machine wasn’t working. Do you think
God really cares about that? What hap-
pened to the concept that worship is not a
performance but an act of giving to God.
And the Word specifies that our giving
should be done with humility. James 4:6,
10 states, “God resists the proud, but
gives grace to the humble. Humble your-
38 JANUARY/FEBRUARY 2011 WORSHIPMUSICIANMAGAZINE.COM
selves in the sight of the Lord, and He will her heart in a sanctuary with nobody else
lift you up”. around. That’s what this little exercise is
about--Intimacy with God.
This scripture also gives us a clue as
to what is important to God. He speci- When I used to sing with Tommy Walk-
fies how we should worship him—with er, one of the things he would say often is,
humility. “You are created to worship God.” I think
about that one line often. It also forces
He also wants us to worship him in me to ask if I am worshiping God in my
spirit and in truth. It is a heart attitude that everyday life. If not, what can I do to turn
makes a difference. We also need to it around? If I mess up, how can I get
make sure we are worshiping the Living back on track?
God and not something we create in our
heads. To be a worship leader means you I just saw the movie Unstoppable featur-
hear a clear call from God to that place ing Denzel Washington and Chris Pine. It
of leadership. It doesn’t mean, “Well, made me think, if one railroad car got
I tried being a rock star and that didn’t derailed, the whole line of rail cars would
work out so I think I’ll step over to the wor- have to come to a stop and it takes some
ship leader employment line and try that.” work to get everything back on track.
You may have been a rock star, but your
calling in Christian service should never Maybe the focus on too much entertain-
be an alternative employment option. ment in worship gets us off track. I know
Your call needs to be verified, certainly it is what a generation of young people
by other leaders in church but also by fol- expects, but the reality is when there is
lowing God’s Word. nothing or no one there where is the true
worship.
By me painting a picture of you being
the last worship leader is to illustrate it is So if you are the only worship leader
now just you and God and no one else. standing, all I can say is bless the Lord
No band, no light shows, no people, at all times (Psalm 34:1). Hang in there
and no fog machines. Galatians 1:10 and seek God. The reminder here is that
asks the question if we please men are God’s temple resides in our hearts. Wor-
we really pleasing God? ship Him and God will be pleased that
you are a true worshiper.
I think a great worship leader is a com-
mitted worshiper. Someone who seeks
God, wants to represent His kingdom on Michael Gonzales, Ph.D.
earth, and one who spends time alone Professor, Biola University
with Him and His Word. I think one of mike.gonzales@biola.edu
the most beautiful images would be to
see a worship leader pouring out his or
 Guitar Grab Bag

By Doug Doppler en the thinking process that I’m applying

Mistakes I’ve Made…

to everything that I’m playing. Everything
has a sequence of notes, and a mistake
is really just missing a piece of that se-

And The Things I’ve Learned

quence. If you can apply a note name
to a mistake your brain sort it out much
faster than just rehearsing it until you’ve
got it. This may not be something new
We all start out our musical journey as Handling Our Mistakes to some of you, but of the of us, the is a
beginners and progress out from there If you make a mistake, make a mental BIG deal. I’m not talking about becoming
as we strive to reach our goals with our note of where you were in the piece of master readers, I’m talking about leverag-
beloved guitars be they a. musical, b. music and then once you’re done play- ing music notation to kick start the process
professional, c. spiritual, or d. all of the ing that exercise or song notate that of knowing what you’re actually playing.
above. I’ve been coming to terms with the somewhere - even if you don’t read mu-
journey I’m on and how I can take the sic. These helpful little tools are what I’ve Things Unseen But Heard
gift God has deposited in me and really dubbed handles. The vast majority of mis- The best part of all of this is that I can
make the most of it. There is a lot of talk takes musicians make they do so repeti- hear the results every time I sit down to
about how to get better, but in the article tively and big part of getting better is not play. If you apply the above to your play-
my heart is to share some of the practical fearing, but handling your mistakes. ing I’m certain that you will too!
tips that are yielding massive fruit of my
personal journey to redefine how I ap- Love the Chart, Hate the Stand
proach the instrument. Over the course of each year I have the Doug Doppler is signed
amazing privilege of coming along side to Steve Vai’s Favored Na-
At the root of the aforementioned jour- worship team members, sharing what the tions label and is currently in
ney is addressing an underlying mentality Lord has put on my heart about getting production on the Get Killer
about how I approach making music in closer to the heart of worship. This year Tone DVD series. He and
the studio has subtly been spreading a I’ve been pretty vocal about how hard his wife Melissa live to serve the Kingdom
poison virtually everywhere I make music. it is to bring an atmosphere of worship and are members of Cornerstone Fellow-
I’ve just gotten lax about just plain get- when your face and focus is buried in ship in the San Francisco Bay Area.
ting to it - actually thinking that I have to your charts during worship. Using charts
play things “x” number of times until I can proficiently to learn material is the key to
play them with the right feel or whatever. not having to use them during service.
I have to believe I’m not the only one The charts and stand are a big part of my
suffering from this malady and I want to preparation process both at home and
You Live It.
share some of the experiences driving this during rehearsal, but when it comes time
realization and as well as the solutions to worship, I’d rather focus on God - how
Now Wear It.
I’m seeing working on a daily basis. I’m about you? Lyric sheets are valuable for
inspired by the results, and I my hope is grabbing tempos to input into my multi-ef-
that you will find something here that will fects unit, but musically speaking they are
inspire you as well. pretty anemic. Once I’ve grabbed the lyr-
ic sheets, and MP3s, I’ve adopted Sean’s
The Moments of Realization approach and chart the songs myself be- LOVE ONE WOMAN... MANY BASSES

We all experience moments where fore I start learning the parts. I bring both
someones speaks the words that cause my charts as well as the lyric sheets with
us to shift from where we’ve been to me to rehearsals on a clipboard along
where we want to go. We can stay in with a pencil. The charts and pencil are
the past or we can cross the Jordan into great for documenting motifs or changes
a place where our faith and hope will that are easy to forget until you’ve played
collide! For me that moment came at of them a few times.
all places, Bass Player Live in Los An-
geles. What Do The Notes Have To Do With It
I don’t read traditional sheet music
Sean Hurley is a highly regarded much better than I did when I graduat-
session and touring (John Mayer) bass ed music school, and my chart reading
player. In his clinic Sean talked about skills have allowed me to skate around STICK WITH
ONE WOMAN...
MANY DRUMS

something that has revolutionized how this flaw in my musicianship. As I’ve been
I approach learning. When he comes working on this makeover I’ve come to
into a session he has them play the track the clear conclusion that a key to learning
down while he charts it out. Then he and playing things quickly with feeling is
plays it - DONE! In having the amaz- really knowing the sequential flow of the
ing “luxury” of owning a great Pro Tools notes. I’ve started documenting more and
driven project studio, I’ve allowed my- more ideas using music notation so I real-
self to wade through passes as I get into ly understand everything I play from note
the groove. Sean comes ready to play to note as opposed to just knowing where Retail Orders Welcome
the groove the second time down. Not it starts and ends. If you play the two oc-
everyone can do that, but I’d venture a tave G Major Scales in sequences of four
guess that most of us fall on the I’ll play it notes calling out all the notes names while
253.445.1973
until I feel it side of the line, and with all you’re playing them is a bit much. But, in Find it at
of my heart I encourage you not to live calling out the first note of every four I’ve
in that place. been amazed at what it’s done to sharp-
www.musiciansthreads.com

40 JANUARY/FEBRUARY 2011 WORSHIPMUSICIANMAGAZINE.COM

 The Thunder Has No Voice
© Ramirez & Associates

’Til Kissed By Fire

Old Indian Proverb

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 The Band
By Tom Lane
Dial It Down
It’s long been said that “a good song
is a good song.” Years back, artists be-
gan releasing “unplugged” versions of
their songs and brought back around
the simplicity long associated with sing-
er- songwriters. It became a genre and
we learned to love the new versions as
much as the old because the song still
shone through even when wrapped in a
different package.
One of the greatest lessons of wor-
ship I learned without even knowing it
was happening. Being a church boy, I
was always the designated song lead-
er. I only started leading worship after
going through my own personal reviv-
al, along with some friends I met with
weekly. Together, we encountered God
in a different and very profound way
that would literally change the course
of our lives forever.  It was standard
practice then (18 years ago) to start
most meetings gathering with music, al-
though there was a period of a couple
of years where we laid down the gui-
tars and instruments to simply pray and
read the Word. At some point, we felt
we were to pick our instruments back up
and just play to Him as if He were in
the room with us.  It was genuine, pas-
sionate, and we learned what it’s like
to sit with God having no agenda or
program. We also learned not to lean
on our talent, sounds, production, per-
formance, etc. By default, we can do a
lot of things the way we always have
and miss the real living, breathing, pres-
ence of God.
By stripping it down to basics – no
sound-lights-amps, just us unplugged –
we learned the power of giving room
for songs and prayers to live. Doing this
forces you to pay more attention to what
you’re expressing.  Once those songs
began to spill over into larger gather-
ings, they connected in ways we’d not
imagined or could’ve ever planned for
in a songwriting session.
A good thing to do as a band ev-
ery now and then is dial it way down
and change up the colors in the pal-
ette.  In fact, I was at a rehearsal yes-
terday where we did that out of neces-
sity. It was a small room and there was
no sound system, yet we had vocals,
acoustic, drum kit, and some amps. So
the drummer used lite rods and we all
played at a fraction of the normal level
42 JANUARY/FEBRUARY 2011 WORSHIPMUSICIANMAGAZINE.COM
and intensity. All of the sudden we were mally do. If you’re an acoustic player,
really listening!  You play differently capo up or down and/or play differ-
when you listen and hear all that’s go- ent inversions. Electric: play less! Bass:
ing on around you. It makes a band bet- just the low notes! If you have ten sing-
ter for sure, transforming individuals into ers, five of you twiddle your thumbs
a team. Try rehearsing that way! and wait to enter until later in the song
rather than at the top.  If you’re a perc
In a time where most of our wor- or horn player, sit on your hands and
ship programs are thoroughly pro- only embellish here and there instead of
grammed,  we can still breath new life playing all 120 bars of the song. Let the
and offer people more opportunity to song unfold and build, create spaces,
engage with God by taking emphasis use pads. Or try building a song on just
off the normal and expected. Rather the percussion. 
than coming in and switching on auto-
pilot, we’re responding differently than 2. Strip your team down to a few,
we did last week. It’s a new day every go unplugged, sit on chairs or in the
time we gather and we should antici- round with a few mics. Just by keeping
pate the Spirit moving in and among us the volume down the congregation will
as He wills today! sound and respond differently. It also
helps them feel a part of worship and
Another lesson I gleaned from was in not like spectators.
Eastern Europe at an outdoor festival in
2000. There were hundreds of people 3. Give the team a day off – they
from all over the Eastern Bloc countries, need it, trust me! – and just one of you
most of whom had lived under the op- lead simply from an instrument.
pression of communism. At one point,
it poured down rain and forced us off 4. Memorize the sections of songs –
the stage and into a circus tent. It was not just an arrangement – and rehearse
hot, smelly, and buggy - I remember that moving from section to section without
part well. Totally unplanned and out of a form. That means everyone has to lis-
the blue, the Greeks started singing a ten, follow, and support the others and
well-known worship song, and it shifted the leader. The more free you are to
to the Romanians, the Hungarians, the move off the roadmap without wrecking
Turks, the Americans, the Dutch, the Pol- the train, the better you are as a band!
ish, the Croats, etc. It was a volley of
worship that transcended instrumenta- 5. Try a service once in a blue moon
tion, production, culture, and language where you ask people from the congre-
and became a unifying and defining gation to start off or suggest a song. Let
moment of the event. And it lasted for it go how it goes; don’t plan anything!
hours, and no one wanted it to end. Giving the people some freedom and
responsibility is good and should be
As musicians we do play a part in part of our worship.
facilitating God’s people in worship.
Though we can also be a hindrance, There’s no formula for the perfect wor-
I don’t think we need to fear using the ship service and there really are no gu-
tools we have to the best of our abilities. rus in worship. We all need to make it
That can mean using the tools sparingly to the foot of the cross daily. The hope
as much as in abundance. Both the wall is that we can spur one another to do
of sound and the organic acoustic are just that and encounter God!
both beautiful.  We may not have total
freedom in our particular worship con-
text, but within its parameters, there is Nashville, TN is home
still much we can do to remain sensitive. for Tom Lane though he is
involved in ministry and mu-
Here’s a little list of some things to sic around the world. As
try on for size: a singer, songwriter and
1. Pick a song you know, play it in guitar player, Tom has been teamed with
a different key, let someone other than many worship leaders and artists. He
the normal driver drive it (for example, continues to record his own work, lead
the keys instead of the guitar). Everyone worship, and writes regularly for various
else use a different color than you nor- worship publications worldwide.
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 Camera

By Craig Kelly

So You Volunteered as a Camera Operator

At Church – Uh Oh, Now What? Part 4
TELEVISION; Derived from mixed Latin Stage Manager The backstage eyes build-ups) Jib camera (sometimes called a
and Greek roots, meaning “far and ears of the director. Responsible for crane) Robotic cameras, POV cameras
sight”: Greek tele (τῆλε), far, and coordinating and communicating what’s (small cameras strategically placed for
Latin visio, sight (from video, vis- to happening on the set, stage or with the unique shots) or stedicams – cameras that
see, or to view in the first person. “talent” look perfectly smooth during a movement
shot.
It’s important to look at the standard hi- Audio Mixer (A1) In charge of all
erarchy of the team. Here again, every things sound for the production. Director of Photography (DP) Usually
circumstance may be different but there’s in charge of the lighting, angle, shots, etc
a very typical team structure in TV and A2 (audio assist) Does whatever the on a single camera style shoot
video production; A1 needs
Utility/Cable Puller/Cable Paige/
Executive Producer Directly in charge Technical Director (TD) Often is the Grip Assist the camera crew . Often a
of the service or event. Probably respon- crew chief, in charge of schedules, posi- entry level position
sible for the budget as well. tion assignments, timesheets, and is the
general person in charge of everything of PA/Runner Assist the Producers or Di-
Line Producer In charge of managing a technical nature. rector. Often a entry level position
the budget and securing elements
for the production Engineer in charge (EIC) The genius You may notice some similarities with
behind the racks. Probably wired every- the credits you see after a movie ending
thing together and if you and the above titles. Some of the posi-
ask them what time tion titles overlap in TV, Film, Concerts,
it is, they will prob- Entertainment, Corporate, Ministry and
ably tell you how to Theater but not always. These are com-
build a clock. mon for a live video crew though.

Lighting Direc- Now that we’re through with all of the

tor (LD) In charge articles here, I cannot stress enough the
of the lighting ‘look’ importance of practice and learning all
you can about the details involved with
Gaffer Assistant to the equipment involved in a production.
the lighting Director. In Good luck to you in your new position,
charge of getting the desired have fun and may God bless you for your
‘look’ for the LD commitment to further His Kingdom.

Lighting Grip Assistant to the Gaffer – Who knows? I may be fortunate

usually does the heavy lifting. enough to have you on my crew some
day. ck
Video Operator (VO) Sometimes
called a shader (a very outdated term)
also called video or V1. Controls the Television director Craig
“look” of the cameras – matches color, Kelly’s career has included
detail level, brightness, contrast and other over 3,500 live shows,
Creative Director In charge of the technical aspects of the cameras events and concerts in
look, the general creative flow and feel broadcasting, corporate
of the production Tape Operator In charge of record- television, events and sports production
ing and playbacks. Not always using since 1977.  He is also involved in min-
Director In charge of the creative pre- tape – could be a file device or even a istry based events and concerts, and has
sentation of the production. Is responsible multi-channel recording device such as an produced or directed internationally dis-
for the crew, the equipment, the choos- LSM, do ra me, etc tributed DVDs.
ing of how the elements are used in the With a background as an international
production such as graphics, music and Graphics Operator Programs and out- free-lance cameraman, he has shot na-
camera shots. puts any graphics used in the production tional and local level sports and corpo-
such as name or title keys, sermon bullet rate video for over twenty years. These
Associate Director In charge of get- points, power point slides or bible verse days he is often involved in speaking,
ting things done for the director in their quotes. Also, possible are the lyrics for workshops, writing and talking about
absence. They may also be responsible the music. Television camera operators and di-
for pre-calling the camera cues during a recting. He recently launched the blog
musical sequence. Camera Operators Handheld camer- ZoomIT.cam at craigjkelly.wordpress.
as, Fixed cameras ( also called long-lens, com for new camera operators and has a
studio cameras, hard cameras and even training DVD in the works. You can reach
Craig at craig@vantageroad.com

44 JANUARY/FEBRUARY 2011 WORSHIPMUSICIANMAGAZINE.COM

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 Tips for Tight Teams
By Sandy Hoffman
Skills to Fill the Bill
(Identify, Develop & Deploy)
I’m amazed. I didn’t really see it com-
ing. I think I was looking for it all along
- sort of - but somehow it just snuck up
on me. Now that it’s here, I’m blown
away! I want to shout it out: “My worship
team has SKILL!” I recognize their intuitive
flow, polished performance and team-
work. Improved skill levels have resulted
in a heightened worship experience for
all involved. That’s right: S-K-I-L-L! That
seemingly ragtag bunch of individuals I
began to work with over five years ago
has actually become A BAND! They now
have the skills to fill the bill! (Can you tell
I’m excited?!)
1-Identify
It’s very cool how people will step up
to the plate if you just put a bat in their
hands and shout, “Swing!” But as a wor-
ship leader, far too often I have underesti-
mated the skill potential of those I’m lead-
ing. Many people have a tremendous
amount of talent, it just needs to be identi-
fied. All an aspiring talent really needs is
someone they respect to say, “Go for it.
Swing that bat!” A little nudge, and soon
they’re hitting home runs. But if we fail to
identify, they may never take that plunge
into the deep waters of skill development.
Let’s always be on the lookout . . .
2-Develop
Factor In Solitude
Now that we’ve identified potential,
the individual must spend some serious
alone time developing and polishing
those fledgling skills. Did you begin sing-
ing or playing music at an early age? Do
you recall the stereotypical parent (per-
haps your own) screaming out the front
door at “little Johnny” to stop whatever fun
thing he was doing, and come inside to
practice? The way my parents tell it, they
had the reciprocal problem. Instead of
having to insist I leave my buddies and
come practice, they almost had to push
me out the front door and force me to
break from the hours of self-imposed musi-
cal continuing education. I was driven! (Is
that unusual?)
The fact is, driven isn’t always bad!
There’s a point in every promising musi-
cian’s life where he or she must partici-
pate in a “schloggfest.” A what? A schlog-
gfest! That’s where the rubber meets the Polished Performance
road. It’s that time when you get alone OK, back to the solitude of personal
and dig in to hone your skills and prepare practice here. Licks are the result of
46 JANUARY/FEBRUARY 2011 WORSHIPMUSICIANMAGAZINE.COM
learned scales, modes and arpeggios.
They take some precious personal prac-
tice time, but when applied in a team set-
ting, they give our performance a sense
of polish! Need to solo? Inspired to im-
provise by the Holy Spirit? Put some licks
and tricks in your musical “tool box” and
you’ll find you’re ready when the moment
is “yours.” (More free downloads at: es-
sentialworship.com!)
to be used of God in glorifying His name
for His Kingdom. Without that schlogg- 3-Deploy
time of practice, practice, practice, it is
doubtful that anyone could really become Teamwork
proficient at their musical endeavor. Gotta … indeed it came to pass, when the
pay your dues… trumpeters and singers were as one, to
make one sound to be heard in praising
Intuitive Flow and thanking the Lord, and when they
OK. Let’s say that each individual on lifted up their voice with the trumpets and
the team is now highly skilled. They’ve cymbals and instruments of music, and
all put in the necessary schlogg-time to praised the Lord, saying: “For He is good,
be ready to worship together. What’s the for His mercy endures forever,” that the
next level the team should aspire to? May house, the house of the Lord, was filled
I suggest “intuitive flow?” with a cloud . . .2 Chronicles 5:13
Intuitive flow is when the team begins Nothing seems to feel better to the
to move seamlessly from one song to the worship musician than the sense that ev-
next without any hiccups in between. We eryone on the team is pulling together to
become so connected by the sheer vol- honor God. There’s unity. And when we
ume of time spent together playing and practice unified praise, as was done by
ministering, that it’s almost as if we’re the Levites in 2 Chronicles, we can ex-
thinking with one mind. We flow in unity pect to enjoy the exceptional results that
from one worship tune to another, or from they did. We will “see” the glory of the
one key to the next, and remove that Lord fill His house. And we’re not just lim-
awkward silence - those pregnant pauses ited to the four walls of a church building.
- from the worship set. This facilitates the We already have Christ IN us!
ones we’re leading to remain focused as
we segue, almost without their notice, I’ve set a goal this year. Now that my
from glorious praise to glorious praise. team is displaying intuition, polish and
teamwork, I believe it’s time to deploy.
To develop that intuitive flow takes lots Oh, they’ve already been “out there”
of time spent together. We can achieve week after week at the local church level,
it by linking worship songs with intervals but what about “takin’ it to the streets?”
of personal or corporate expression. One Any reason why a well honed worship
way to facilitate this link is to use “free team can’t “represent” at open mike
worship” chord progressions. These pro- nights, community events, public prayer
gressions are a repeatable sequence of times, festivals or arts and crafts shows?
chords which can be tagged to the end There are flea markets, rodeos and fies-
of a praise or worship song, and played tas galore here in Santa Fe. I’m sure your
again and again until the leader signals community hosts lots of similar events.
it’s time to move on. As we become These are splendid opportunities to go
more comfortable with the intuitive flow out and be an example of what it means
of seamless worship, our corporate wor- to have the skill to fill the bill! And remem-
ship times will no longer resemble stop ber: while you’re out there ministering to-
and go traffic on a busy thoroughfare. gether, your team will just get better and
Instead, the bumps in the road to worship better! It’s a win-win proposition. Ready
will disappear as we seamlessly glide up to go for it?!
the highway to Heaven. Why not “get
your motor runnin’” and begin to practice Hone it up!
free worship chord progressions with your Sandy
team? Simply spend some time between
songs playing repeatable chord progres-
sions until they become intuitive second Sandy Hoffman serves
nature. (For pdfs of “Free Worship Chord The Grace Community
Progressions,” please visit: essentialwor- Church in Santa Fe, NM,
ship.com/freedownloadsmain.html) where he is the Minister of
Worship Arts. Check out
his new instrumental acoustic guitar CD,
“Sereno,” at: www.EssentialWorship.com
“I sing more confidently now knowing
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protected from feedback”

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 Mandolin

By Martin Stillion When as a college student I first undertook to learn

How chords are related

mandolin chords, I was too stubborn to buy a chord
book. Instead I thought I’d apply what I had learned
in my music theory classes and figure out what I need-
ed to know for myself.

Granted, that took a lot more work than buying

a book, but I think it was worth it. I discovered that
thanks to the absolute symmetry of tuning in fifths,
several repeating patterns occur throughout mandolin
chords, and understanding these patterns can help
you both remember the chords you know and teach
yourself new ones. For the present discussion, we’ll
consider only major and minor chords, not any altered
or extended ones.

Each chord consists of two thirds: a minor third (a

distance of three frets) and a major third (a distance
of four frets). On a piano, you can stack the thirds
immediately on top of each other, with the major third
on the bottom for a major chord (Fig. 3a), or the mi-
nor third on the bottom for a minor chord (Fig. 3c).
You can’t do that on the mandolin (without highly ad-
vanced technique, anyhow), so the thirds are often
inverted into sixths to help spread them out. A major
third becomes a minor sixth (one string plus one fret);
a minor third becomes a major sixth (one string plus
two frets), as you see in Figs. 1 and 2.

Stacking sixths rather than thirds gives you a play-

able mandolin chord, major or minor (Figs. 3b and
3d). The 3-note chords appearing in my example (A
major and A minor) can become 4-note chords when
you double the A with your first finger (2nd fret on the
G string).

Alternatively, you can think of these two chord

shapes as a fifth plus a sixth (Fig. 4) and then double
the A with your third or fourth finger (fifth fret, E string).
Either way, you’ve now derived two familiar barre-
chord shapes which, as you probably know, can be
moved up and down the fretboard to become any
chord, not just A.

Chords can also move across the fretboard, thanks

to symmetrical tuning. Figs. 5 and 6 demonstrate how
several familiar major chord shapes are based on a
minor sixth that shifts from string pair to string pair.
You’ll see it move from the high strings to the low ones,
bringing some fifths and sixths along with it. The same
thing happens with a major sixth that moves through
minor chord shapes in Figs. 7 and 8.

Of course, getting this all down on paper is but

the first step. Getting it under your fingers is the next.
Once you do, you’ll likely discover even more relation-
ships between chords, and you’ll gain the confidence
to play in unusual keys and do lightning-fast chord
changes anywhere on the fretboard with minimal shift-
ing. Which is more than enough for one column.

Multi-instrumentalist Martin Stillion,

a 15-year veteran of worship bands,
plays at Seattle’s Bethany Presbyterian
Church. In his other lives he’s a hus-
band, father, writer, editor, Webmaster,
composer, and musician. Learn more than you wanted
to know about Martin at www.stillion.com/martin or
www.emando.com.

48 JANUARY/FEBRUARY 2011 WORSHIPMUSICIANMAGAZINE.COM

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 Product Review

By Bruce Adolph When it comes to legacy sounds, Kurz-

treat. Throw it in a

Kurzweil SP4-7 Keyboard

weil has always had some wonderful piano
gig bag and toss it in
patches – which this keyboard sports – but
the trunk. That is my
you will also find their signature KB3 organs
kind of preparation!
patches, with all KB3 parameters accessible
Kurzweil set out to make the SP4-7 the Up And Running ASAP via external MIDI control. Having good piano
modern successor to their best selling SP76, Kurzweil set out to make getting around on and organ sounds is the meat and potatoes in
a keyboard which combined their world- the SP4-7 simple with a user interface that is my book of evaluating a keyboard.
class Kurzweil sound quality with affordability designed to make things as easy for you as
and portability. The goal for the SP4-7 is to possible. They placed the features that are most The SP4 can also load programs from the
be even slimmer, lightweight and easy to use. important, right where you’d want them. You PC3 and PC3LE series keyboards; additional
Let’s see if they hit the mark. can create splits and layers with the touch of a sounds will also be available for download
button (up to 4 zones); select presets and set- on their website. Having16-part multi-timbral
Good Things Come In Small Packages ups from easy to access category and program architecture makes the SP4-7 a good tool for
Why does a smaller foot print matter? If you buttons; adjust effects parameters; everything is writing and recording music with an external
are a mobile church the benefit of a lightweight laid out so that you can be up and running right sequencer or Desktop Audio Workstation.
but powerful keyboard becomes more appar- out of the box. When I sat down to test- drive
ent when you are loading it in this board I found this claim to be true as well. Yes But To What Effect?
and out each and every It is super easy to get around on. And if you are Again borrowing from Kurzweil’s bag of
weekend. Also triggering loops from your Mac or via tricks, the SP4-7 also features dozens of the
a small MIDI with a tone generator and some- PC3’s professional quality effect chains. Ev-
thing goes hey-wire during your set, erything from concert hall reverbs and crisp
sending all kinds of crazy runaway delays to powerful distortion and amp simula-
feedback and sequences ringing out to tion effects add another layer of depth and
the audience you have a “Panic” button on the realism. The most commonly utilized effects
board that shuts everything down that your key- parameters have been routed to the SP’s Tim-
footprint board is controlling. Smart thinking Kurzweil! bre knob, so you can customize your sound
of a key- on the fly without having to dive into menus or
board might make In the Words of Keith Green - manuals. That is a big plus for a guy like me
a difference on a smaller No Compromise who plays first and reads the owner’s manual
platform. When you’re trying While this new keyboard may be the most af- only when I am completely stumped. Ha!
to pack a full band into a small fordable one that Kurzweil offers, no compromis-
space and actually have some elbow es were made when it comes to its sounds. 128 Lights, camera, action…
room to play this becomes more of an issue. hand-picked programs were taken directly from When you read the specs you’ll see they
The SP4-7 has 76 keys which is plenty when their PC3 line. The SP4-7 delivers with their Triple call the action on this board “semi-weighted”.
you really think of what range you need to play Strike Grand Piano, classic electric pianos and At first I thought to myself, “Well, that is a nice
most modern worship music (for those of you lush strings and orchestral instruments. Also on way to say something is less than or cheaper
who are classically trained, please don’t send board you’ll find basses, guitars, winds, brass, than weighted action” but what I found to my
me angry e-mails for saying this). percussion and drums. I played all 128 patches surprise was that it has a weighted feel like a
and I was surprised how many real good and piano but a good bounce back of the keys
Did I mention how much it weights? Just everyday useful sounds there were. I found quite like a synth would have. A middle ground so
24lbs. Picking up the SP4-7 keyboard is a a few “favorites” to add to my play list. to speak that helps you with those faster pas-
sages. I like the feel of the keys a lot.

Counting the Cost…

So if you need a great sounding keyboard
COME VISIT US AT that you can easily take with you (either mo-
NAMM BOOTH C-4152!
bile churches, back and forth for rehearsals
or for your youth group to take wherever they
may wander) this Kurzweil just may be the an-
swer… especially at such a low price point.

When I first heard about Kurzweil key-

boards back in the mid 80’s. Their flagship
keyboard then had a very realistic piano
sound and was a whopping $250,000.00
in price. Can you believe that? It is true. Of
course, we have had a lot of advances in tech-
   

nology since (thank God!). We are living in a

good era for keyboard pricing right now too
it seems, as this one retails for $1,349.00,
UE 4 PRO    before the discounting begins. Go and play
CUSTOM FIT MONITORS   a SP4-7 for yourself and listen to the pianos
DPL<+GIF:LJKFDJ=@K>I<8KJFLE;>I<8K#K?<P8I<8E DANIEL RIVERA and organs… that just might seal the deal right
there! Listen to the other very usable sounds
TECHNICAL COORDINATOR
LE9<C@<M89C<M8CL<%K?<J<8I<8DLJK=FI8EPNFIJ?@GC<8;<I&NFIJ?@GK<8D% OASIS CHURCH, LOS ANGELES

and you may be walking a nice big (but light-

For more information, please contact Joey Sanchez
jsanchez@ ultimateears.com weight) box to the car.
www.ultimateears.com facebook.com/ultimateears twitter.com/ultimateears
Suggested Retail Price: $1349 More info at
Ultimate Ears by Logitech. © 2009 Logitech. All rights reserved. Logitech, the Logitech logo and other Logitech marks are owned by Logitech and may be registered. All other trademarks are the property of their respective owners. 
The Twitter name, logo, Twitter T, Tweet, and Twitter blue bird are trademarks of Twitter, Inc. in the United States and other countries. Facebook is a registered trademark of Facebook, Inc. www.kurzweil.com

50 JANUARY/FEBRUARY 2011 WORSHIPMUSICIANMAGAZINE.COM

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 Lighter Side
Best-selling tists, classical musicians, and successful retrospect, that was the period of my life
author Malcolm business entrepreneurs all share the trait. when I actually started to get pretty good
Gladwell wrote a at what I did. I was recording some of the
By Manuel Luz book a few years Of course, it wasn’t long until I started best music of my life, was leading wor-

Do the Math
ago called, Outli- doing the math of my own life. I started ship bands at church as well as my own
ers: The Story of playing the piano when I was almost 5, band, was arranging and songwriting
Success, which is, and worked my way through a half doz- and gigging some big gigs. And also—
in his words, about en piano teachers until I was 13: ~1400 probably not coincidentally—I think that
“men and women who, for one reason modest hours. Played clarinet in school was about the time in my life when I be-
or another, are so accomplished and so bands and was introduced to student gan to understand that I didn’t have to
extraordinary and so outside of ordinary conducting, in addition to some amateur prove anything anymore.
experience that they are as puzzling to songwriting and playing keyboards, so
the rest of us as a cold day in August.” to age 16: ~3,500 hours. Played coffee Gladwell cites the Beatles who as a
In the book, he looks at a wide variety houses and other gigs, began performing group honed their skill and sound by play-
of people and occupations, from airline with bands, and learned the craft of studio ing over 1,200 gigs in Hamburg night-
pilots to entrepreneurs to hockey players recording, so to age 21: ~4,900 hours. clubs between 1960 and 1964. By the
to software engineers, and identifies and Given I had a day job as an aerospace time they had been “discovered,” they
examines the attributes of success. Be- engineer, I still played steadily in bands had amassed over 10,000 hours focus-
yond talent and intelligence and ability, (fusion, rock, church, originals), taught ing their talents, honing their skills, char-
many of the characteristics of success in- myself to play jazz piano bar, began re- acterizing their unique sound, and forg-
cording independent projects in a demo
clude things largely outside of our control, ing their group identity—and the musical
things like “culture and community and studio, took classes and conferences and world was never the same.
family and generation.” read books, and I did a whole mess of
songwriting, so by age 29: ~9,600 I think about the many artists I know—mu-
I was fascinated by one startling point hours. And if I were honest with myself, sicians, painters, filmmakers, dancers, ac-
he makes. The uncommonly successful I still wasn’t all that good of a musician. tors, writers—and the price they must pay
person has spent at least 10,000 hours in order to be good at what they are pas-
honing one’s skills. He argues that the So I probably hit the 10,000 Hour Rule sionate about. I think about the aspiring 22
10,000 Hour Rule applies universally— around age 30, the same time I entered year old songwriter who just released his
tennis prodigies, chess champions, scien- into full-time vocational ministry. And in Continued on page 54

Lighting
quiet operation, and video-quality The story of Chauvet
consistency are actually a ma- Lighting is an intrigu-
jor driver in the production ing one. Started in
By Greg Sisley specs of new fixtures for the the 80’s as a light-
production lighting world at ing manufacturer
Product Review: large. Simply put, design and distributor

Chauvet 300E Spot

gear for churches and it largely marketing
will work anywhere. The to the DJ/club
performance of fixtures environment, to-

and 300E Beam

being brought to market to- day Chauvet is
day is both astonishing and a major player in
exciting. So when Chauvet innovation, devel-
Lighting provided two of opment, and man-
Welcome to 2011! I hope this is an their new 300-size movers ufacture of pro-
‘illuminating’ year for you and yours. for evaluation, I was more fessional lighting
than eager to see what they applications. And
Just off the Christian Musician Summit could do. These fixtures are they roll GREEN! A
at Overlake in WA. What an amazing part of Chauvet’s extensive offer- large per- centage of Chauvet’s
camaraderie between people with seri- ing in the professional lighting/touring R&D budget is committed to exploring
ous stories and experiences. Not only market and truly demonstrate their commit- and delivering eco-friendly alternatives
was the musicianship top-notch, ment to becoming the leader in LED and to traditional light sources. Now at the
but the production was world- intelligent lighting. forefront of lighting innovation, Chauvet
class. Bruce Adolph and Matt offers the single largest range of LED-fitted
Kees have the consistent abil- Perhaps it was extremely quiet fans or luminaries for architectural, entertainment,
ity to bring together servants barely audible motors that impressed me. and worship applications.
of exceptional skill and heart. Maybe it was very best user interface I
Their leadership routinely fa- have ever seen in a light. The menu is The Legend 300E Spot and Legend
cilitates significant wins for clear, simple, and easy to navigate; just 300E Beam movers are two of Chauvet’s
the Kingdom! what we need in volunteer-heavy produc- new, well-designed professional series.
tion environments. It could have been the Both fixtures come with 8,400K Mini-
An interesting phenom- lightning-quick and very smooth pan/tilt FastFit lamps, and produce a stunning
ena occurring today in the and zoom movement. Whatever, I was 12,200 lux at 5m. Designed to exceed
fast-growing house-of- blown away by the value, innovation, the performance of any similar sized fix-
worship AV market is and performance of these lights. The tures on the market, these revolutionary
that the lighting needs of 300E Spot and 300E Beam, retailing pieces not only offer prism, shutter, iris,
churches; high output/ for about $3400, have no competitors at focus, and move-in-black, but also boast
capability, reliability, fast, their price point. Continued on page 54

52 JANUARY/FEBRUARY 2011 WORSHIPMUSICIANMAGAZINE.COM

 A Few Moments With…
“I’ve never seen anything like it,” said William Oudle,
worship pastor at First Baptist Church in Elba, Mississippi.
“We were just settling in, ready to start the music when all
By Tom Kraeuter of a sudden, all the songs got up and walked out. We
were stunned! Next thing we know they’re all marching
Standing right alongside HHH was “Here I Am to Wor-
ship,” one of the other strike organizers. “That’s right. My
friend H, here, has stated it, like, really well,” said HIAtW.
“We just can’t do the job we were created for unless Chris-
tians do the job they were created for: to worship God.”

Worship Songs
out there in front of the church carrying little picket signs.”
Reaction in some circles has been immediate. Al-
In some places the songs linked together, stave to stave,though a few have suggested that the Church as a whole
daring people—and a few renegade songs—to cross is better off without the songs, many people have gone

On Strike
Nashville, TN (TR) Reacting to what they say is a lack
of enthusiasm and passion for singing them, the Union
of All Worship Songs (UAWS) today announced that
they are officially on strike. In an unprecedented show of
unanimity, songs written as recently as two months ago
banded together with songs penned hundreds of years
earlier as they walked out side by side.
A UAWS spokesperson said, “We’re tired of it. We
were written by people who genuinely loved God and
wanted to express that love through song. If you read our
words you can sense the original fervor. There was a
passion for the Creator/Redeemer that comes through so
clearly through the words and even the music. But today
so many people just mouth the words. They go through
the motions while yawning or looking at their watch, won-
dering when the service is going to end. It’s really been
demoralizing for us. We had such a great beginning…
and now this.”
The strike was declared effective immediately, and
Christians worldwide were stunned when the songs
walked out of churches, homes and media outlets.
In some cases the strike came just moments before a
Wednesday night service began.
their lines. Radio stations that play “praise and worship”
music were suddenly silent. Even video projection systems
in churches were abruptly and unexpectedly without lyrics.
to their knees in repentance. This outcry to God has been
less for the songs to return than for a genuine change of
heart and mind for the pray-ers. Some of the most fre-
quently heard prayers have been right from the Scriptures,
One of the strikers, who asked to remain anonymous, including, “Search me, O God, and know my heart…
said, “I know I speak for a lot of other songs when I say Point out anything in me that offends You…” and “Restore
that we’re just plain tired of it. If those people want to to me the joy of Your salvation.” Christians seem to be
sing with no fervor, no zeal, let them sing some secular catching the point of the strike and responding favorably.
songs… but not us. Why, they usually sing “Happy Birth-
day” with more gusto than they usually sing us. It’s simply In the midst of such reaction, one song, “Change My
not right, and we’re not taking it anymore.” Heart, O God,” received special permission to cross the
picket lines and make himself available in multiple languages.
The old hymn, “Holy, Holy, Holy,” was one of the
original organizers of the walkout. When asked about In an official communiqué, the UAWS said, “This initial
the strike, HHH had this to say, “This remindeth me of the response seems to be on the right track, but we’ll see if it
words of the prophet Isaiah. ‘Forasmuch as this people lasts. We are guardedly optimistic at this point.” The songs
draw near me with their mouth, and with their lips do have promised to remain on strike as long as necessary.
honour me, but have removed their heart far from me…’
This be our contention. We requesteth a turnabout to
wholehearted singing. We canst not bear the feeble, When it comes to the topic of worship,
desultory attitude. As psalms and hymns and spiritual Tom Kraeuter is one of the most respected
songs, our main purpose is to inspire the brethren to rev- teachers in the body of Christ today. His
erently worship Almighty God. Yet we canst not do that Worship Seminars are held all across
except if the brethren willingly cooperate. If their minds North America. For more information on
are focused solely on what eating establishment they will any of Tom’s books, seminars, or other articles, contact
patronize when the church service endeth, then we canst Training Resources, 65 Shepherds Way, Hillsboro, MO
not make up for their indifference no matter how well we 63050, 636-789-4522, staff@training-resources.org,
be written.” or www.WorshipSeminar.com

Continued from page 52 Continued from page 52

first CD, the young 24 year old aspiring filmmaker both a color wheel and CMY color mixing, al- allowing a huge variable white temp range
who is wondering whether he should quit his day lowing you to color-match existing objects or from 3200K to 8400K, and making it possible
job, the 30-something worship leader who just conventional gels. The 300E Spot, with two to match existing lighting temps, whether con-
wrote his first book, the 18 year old vocalist who gobo wheels, has a variable beam angle of 16 ventional or LED. Another forward-thinking in-
to 35 degrees, while the 300E Beam, with one
is trying to figure out whether to major in music, the novation is the available built-in wireless DMX
50 year old mom who fell in love with the cello gobo wheel, delivers a crisp 8 degree shaft of receiver (Chauvet’s W-DMX). Sometimes it isn’t
and is seriously taking lessons. And while I believe light. Designed to be versatile, the 300E series practical to route control cable to every fixture
Gladwell is right in asserting that much of success have both 3- and 5-pin DMX connectors, oper- location, or you need a fixture to act as a re-
is beyond our control, one of the things that is in ate on 110V or 220V, and offer user-configu- ception point for the down-stream control of a
our control is dedication to our craft. rable lamp options. At about 45lbs, the 300E truss. That’s good thinking.
Spot and Beam are serious pieces in look, feel,
In a celebrity-driven world where auto-tune and performance, and will make permanent im- Technology and equipment that help create
and Justin Beibers exist, work ethic seems a provements to any lighting rig. purposeful worship environments and frees tech-
quaint notion at times. But we do have an obli- nicians and worshippers are tools we need to
gation to steward that which God gives us. And One of the major trends in church lighting be successful. The development of the 300E
that includes the talents given to us as artists. In today is replacing fixed conventional/ellip- Spot and 300E Beam and the rest of Chauvet’s
other words: Do The Math. soidal front lighting with moving lights. Using professional line; 700 and 1200- size movers,
movers to provide front light leverages moving as well as very powerful new moving-head LED
“From everyone who has been given much, lights’ ability to auto focus and easily change washes, is a great example of the needs and
much will be demanded, and from the one who focal point. Often combining different types of voices of the end-user being heard and under-
has been entrusted with much, much more will front lighting can cause both intensity and color stood. It means they come from a company that
be asked.” Luke 12:48 NIV temperature issues; the 300E series has two values relationship. With us. Thanks Chauvet,
significant features that address this. One is for listening.
the addition of CTC filters. Color Temperature
Manuel Luz is a working mu- Conversion (CTC) glass filters are used to bal-
sician and creative arts pastor ance or correct (make the same as the other Greg Sisley is on the pastoral
for Oak Hills Church in Folsom, light temps you are using) the color tempera- staff at Faith in Kent, WA, where he
California. We encourage you to ture of a light source’s output. They can pro- serves as executive pastor and pro-
pick his book, Imagine That: Dis- vide significant changes in color temperature of duction lead. He serves as a consul-
covering Your Unique Role as a Christian Art- various light sources, and can also be used to tant to churches in the area of light-
ist (Moody Publishers) or surf onto his blogsite, create an intentional warm or cool effect. The ing design and production, and can be reached
manuelluz.com. CTC filters provided are 5600K and 3200K, at gregs@prolighingandsound.net

54 JANUARY/FEBRUARY 2011 WORSHIPMUSICIANMAGAZINE.COM

BREAK
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