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SEP/OCT 2012Volume 17, Issue 5

Improving Musicianship | Inspiring Talent

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Selective HearingSixpence None the Richer • Andrew Peterson • Phil KeaggyBlues Counsel w/ Phil Keaggy • Jon GibsonHouse of Heroes • Rhett Walker Band

“Stereotyping” by Bryan Duncan • New ‘Keyboard’ column by Erick Hailstone

Product ReviewWCG25SCE Guitar by

Washburn Product Review

Line 6 Stagescape M20d

DAVE CLEVELANDInsights from the Nashville Session Ace

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101 GuidesWith valuable advice on live mixing, miking techniques, instruments, and more, our informative guides give you the tips and tricks you need to make your services sound better.

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

Practice, Rehearse, and PerformHere’s the best way to learn, rehearse, and perform today’s top Christian music! Get complete backing tracks and practice mixes, charts, and more.

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

Sweetwater-exclusive Interview with Lincoln BrewsterThe inspiring songwriter and guitarist shares advice on using music technology in your house of worship — and talks about his favorite gear. Essential Guides for You and Your VolunteersIn-depth, down-to-earth articles help volunteers, pastors, and worship leaders to understand the ins and outs of the latest in worship sound technology.

practicals as well — the musicianship. I’ve said this for years, that all really good gear does is better re-create reality.”

This approach applies to recording as well as live sound in the church. “People say, ‘If I could just get Pro Tools, then I can make a record.’ Well, no. Pro Tools is just going to better reveal what you have. Pro Tools doesn’t make records; Pro Tools ALLOWS people to make records.” He adds, “We’ve got to be careful of the “golden hammer” syndrome. We don’t worship the tools. They’re just tools. We commit to being smart with what tools we need, how much we need to spend, be frugal, make wise choices, and then get after the task at hand and focus on doing a great job.”

Lincoln’s own setup pairs the latest technologies with classic tones. “I’ve got two Custom Shop Strats that are sort of based around ’57s.” Rather than relying upon miked amplifiers onstage, Lincoln opts to run his POD HD 500 rig direct. “Most of the dates I do on the road are fly dates; we’ve got to fly just about everywhere we go. I want something that sounds great, that feels great to play, and will give me consistency every night. For me, that means being able to fly with it. So, for me, that’s where it [using the POD] started. I recorded some tracks on my very first album with Line 6’s Amp Farm, and I remember thinking, ‘Gosh, it’d be great if I could take this on the road.’ And then the POD came out. I started using it, and, back then, running direct was blasphemy. I’d have people show up after we’d play at a festival and they’d say, ‘How do you get your tone? I want to see your rig!’ And I’d go, ‘You don’t want to know, trust me.’ And they’d say, ‘No, no, I wanna know!’ And I’d show them. What I’ve found consistently is that people’s brains would not allow them to hear what their ears heard. They just couldn’t get past the reality of what it was.” He usually opts for a Line 6 G 30 or the G 50 wireless instrument system for his guitar. Lincoln also points to the flexibility Line 6’s new XD 75 wireless microphone system gives worship groups, thanks to the handheld transmitter’s array of built-in mic models. “I was really shocked at how good the models were inside the microphone. The fact that you could flip through a bunch of different mics and try different ones out and see which one worked was killer.” For onstage monitoring, Lincoln depends on Westone in-ears. “I think top to bottom there’s not a better company for in-ears. The UM Series is great. I carry around UM 3Xs along with my 5 drivers for backup. They sound awesome and they fit great.”

When he heads into the studio, Lincoln uses a Pro Tools HD rig outfitted with Waves and Universal Audio plug-ins. He also uses plenty of outboard gear in addition to working “in the box.” Mic-wise, “I use a handbuilt ADK tube mic (CS67J) that’s based off of a U-67; it’s awesome. I’ve also got a pair of Shure KSM 44s. I use them for vocals, but those mics work on anything.”

Lincoln also relies on Avid’s Eleven Rack to get his favorite guitar tones in the studio. And, speaking of getting guitar tones, he gets plenty from one of his favorite new guitars, the Line 6 James Tyler Variax. “I think every studio ought to own one of those,” he enthuses. “It’s just amazing how spot on those models are. It was pretty stunning; I knew the guitar was cool, but at that point I was just a complete believer.”

You can find Sweetwater-exclusive signature Lincoln Brewster patches on both the POD HD Pro and Eleven Rack systems. What’s more, Lincoln has been a Sweetwater customer “for almost 24 years. I could tell even back then: well-run company, thought a little bit outside of the box. If a church calls you up, ‘Here’s what we’re wanting to do,’ Sweetwater is able to really give them a comprehensive view of product options.”

Lincoln neatly affirms his path as a musical messenger when he paraphrased a quote by Martin Luther: “Aside from theology,” he says, “there’s not even a close second to music in terms of communicating God’s word to people.” He adds, “It’s obviously a very important part of what we do as a church.”

lincolnbrewster.com

Renowned singer, songwriter, and guitarist Lincoln Brewster’s acclaimed latest release, Real Life, is available now. To find out more about Lincoln and his uplifting new album, go to linconbrewster.com.

Lincoln Brewsteron Music Technology in Modern Worship

Real Live:Lincoln’s Go-to Gear:

Line 6POD HD500

pg. 130

AVIDPro Tools + Eleven Rack

pg. 96

Line 6XD-V75

pg. 22

WestoneUM3X RC

pg. 34

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Lincoln Brewster puts a lot of thought and experience into choosing the gear he relies on when he’s performing on the platform and recording in the studio. Throughout this issue of Worship Sound Pro, you’ll find several products that are similar to the ones Lincoln prefers. Here are a few great examples!

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pg. 122

You would be hard pressed to name a modern worship leader and musician who has better utilized music technology than Lincoln Brewster. Renowned both for his songwriting chops and his virtuosic guitar skills, Lincoln makes the most of his cutting-edge music gear — while sharing the message with heart, grace, and humanity. Currently serving as the worship arts pastor for Bayside Church in Granite Bay, CA, Lincoln also continues to tour nationally. He has released seven full-length albums since 1999, including his acclaimed latest, Real Life. A new Christmas album is due out this year, and plans are in the works for a live album. It goes without saying that he has come a long way.

Lincoln’s upbringing in Alaska was anything but idyllic. He grew up in a broken home, seeking solace in music. Gifted at guitar and other instruments from a young age, Lincoln poured his energies into improving as a player and performing live. By age 19, his talent and hard work got him noticed. Recording contract offers began coming in, but by then, Lincoln

had let the Lord into his life and chose a different path. He played on a Steve Perry (formerly of Journey) solo album and toured with the singer for six months in the mid-1990s, but soon returned home — now

in California — to be with his new wife and work with his church as a sound technician. Eventually, Lincoln moved to Nashville, working alongside his wife as a youth pastor. Upon hearing his production work during a demo session, executives from Integrity Media took notice of his talent and signed him to their Vertical Music label, and Lincoln relocated to California and began his work at Bayside Church. His experience on the platform, on tour, and behind the scenes gives Lincoln

unique insight into what it takes to make technology work in the context of worship. As he points out, “I think that a lot of people have allowed for things to get overly

complicated, and ‘technology’ for some people is a bad word — when technology is supposed to be our friend and help us out.”

So, how would Lincoln approach gear and technology if he were starting from scratch? With an eye for effective sound solutions that don’t overwhelm the team or the budget, for starters. “”I think, if I were to go back to some of my earlier

ministry days and start smaller, I would start with a good sound system,” he says. “The nice thing is that you can get some great

sound systems that don’t cost a lot of money, that have a lot of flexibility, and are designed

for volunteer use or for people who aren’t at a ‘professional-caliber’ level. Line 6’s new StageScape PA

system is just phenomenal,” he says, pointing to the system’s intuitive touch-panel controls. “What a cool concept! Things like

that which are now available are making it possible for churches that are smaller and don’t have the big budgets to come up with really

great results.” He warns against looking to technology as the total solution, rather than an aid. “Before you have something in place

the way you want it, it can often become your focus. Technology is definitely one of those things that offers that danger. So,

we can consistently, day in and day out, be about, ‘Oh, if we just had this, or if we just had this.’ You’ve got to have the

right components, but it doesn’t require as much as most people think.” He adds, “Once you get some things

in place, I think a lot of people need to ask what they’re going to do with it. I think a lot of worship

ministries, if you went, ‘Okay, here’s everything that you’ve ever needed. Ready, go,’ then some of them might freeze for a minute because they’re so not used to thinking about what they’re actually supposed to be focusing on.” He points to the bottom line: “I think that our focus has to be on: how do we get God’s people connected in an authentic way? How we get them worshiping? What’s going to make

that experience work? I ask myself that every week when I’m putting my set together. I’m going, ‘Alright, Lord,

what’s it going to take this week? What are the songs? Anything I need to say?’ And really focus on the

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Dropout is just as bad as feedback. Even intermittent dropout can ruin an otherwise wonderful service. An unbroken line of sight between the transmitter and the receiver’s antennas is ideal, but seldom is that possible. More times than not, the wireless signal must rebound off of walls and other surfaces to reach the receiver, and that increases the risk of dropout. If you put a bodypack transmitter in your back pocket, the signal (unable to pass through you) will have to find an alternative path to the receiver. So, to minimize the risk of signal dropout, keep your bodypack in your front jacket pocket.

Another major problem is broadband noise and radio interference. If your church is in a city, chances are that an inexpensive entry-level wireless system simply won’t work for you. The same precision technology responsible for the high simultaneous channel count common to most high-end professional wireless systems is responsible for shutting out noise and radio interference. Digital wireless systems, which reject noise and other nondigital signals out of hand, are excellent cost-effective alternatives to traditional wireless systems.

All professional wireless receivers are “true diversity” receivers, which means that they use two independent antennas. That way, if the wireless signal doesn’t reach one antenna, it can still reach the other. Quality wireless receivers have antennas that twist off, allowing you to mount them on stands and spread them out. Separating your antennas vastly increases

their effectiveness. Even spreading your antennas out just a few feet and moving them away from your other gear will vastly improve your system’s performance. Also, if you have a multichannel wireless system, you may also need an antenna distribution system, which will allow you to connect only a single pair of antennas to multiple receivers.

Whether your future wireless system is a single-channel, single-speaker setup or a larger system for the whole worship team, it should effectively and accurately spread the message. Unfortunately, many budget-priced wireless systems may make it difficult and unpleasant for your congregation to hear that message. If the number of quality wireless systems you need is beyond your current budget, practice wise stewardship and save your money until you can afford the system that your house of worship deserves. There are excellent single-channel wireless systems that you can start with and expand later. Your Sweetwater Sales Engineer will be happy to help you find the right system for your church.

Worship Sound Pro 101 Guides

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There are two basic types of wireless transmitters: handheld units and bodypacks. Handheld units combine a microphone and a wireless transmitter into one device. They are extremely convenient for worship leaders, and even some pastors prefer them because you can move a handheld microphone away from your mouth if you

need to cough. Wireless handheld microphones are also less susceptible to dropout, because the transmitter part of the

unit naturally points out toward the receiving antennas.

Bodypack transmitters allow you to plug in a lavalier microphone or a guitar cable, giving you both wireless and hands-free convenience. If you are going to use a lavalier microphone, you’ll most likely want to choose one with a cardioid (unidirectional) pickup pattern rather than one with an omnidirectional pattern. Cardioid lavaliers reject sound that doesn’t enter them directly, making them less likely to create feedback. Just remember this: no matter how much freedom wireless microphones give you, you still can’t walk in front of the loudspeakers without causing feedback.

Wireless technology can be a little daunting at first. But don’t worry, wireless systems are much easier to understand today than ever before. Most wireless systems set themselves up for you, and once you’ve set them up, you don’t need to touch them again. Here’s a simple overview of wireless microphone technology, how you can put it to work in your church, and how to avoid some common pitfalls.

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Take a look at the instruments we’ve highlighted in this guide, including Yamaha’s MOTIF XF8, the affordable Roland FP-7F, and the piano-like Kurzweil PC3K8. You’ll also want to check out the Hammond XK-3c.

Workstations: Powerful Tools for the Worship LeaderWhile streamlined, piano-like instruments are ideal for a number of worship leaders and church pianists, many other houses of worship rely on keyboards for much more than just piano sounds. In fact, if you’re a piano-centric worship leader, you may very well be able to perform and produce your entire service with a single powerful instrument called a keyboard workstation. More than just keyboards with hundreds, sometimes thousands, of instrument sounds, these instruments often feature multitrack sequencers, so you can layer all the different instrument parts into a full orchestration. It’s very similar to working with audio editing and production software, only you’re not tethered to a computer — and you can easily play these backing tracks right from your keyboard during services. And even if you do have a complete worship band, you can use a workstation to add a few choice backing instruments to fill out your sound — perhaps a second trumpet part, a string section, or even an extra kick drum sound for more power.

A Balance of Features for Modern WorshipIf you don’t need the all-out power of a workstation, but you’d still like a handful of cutting-edge capabilities — maybe built-in drum patterns for rehearsals and a lighter sequencer for a quick songwriting sketch pad — there are a number of options that fall somewhere in between the two categories we’ve already mentioned. Instead of choosing an 88-key option, which has the same number of keys as a full piano, you can select a 76-key — or smaller — version. These instruments trade a slightly reduced range (many keyboardists never use the highest and lowest keys anyway) for lighter weight and a more portable form factor. You can still get fully weighted keys on a 76-key piano, or you can choose a semi-weighted version that works well if you perform a blend of classic and modern instrument sounds, rather than strictly piano.

Increasing in popularity are keyboards that feature a built-in microphone input. These are perfect for the performing worship leader and great for scaled-down youth services. The vocal microphone goes right through the keyboard’s output, so you’ll need to amplify only one signal. Better yet, there are professional vocal effects built in, so you can refine the vocal sound without having to purchase an extra piece of gear.

Don’t Forget About Realistic Organ SoundsThe organ is still a very popular instrument for worship services. And while most of the keyboards we carry feature a built-in organ sound, you can get that organ-playing experience — complete with drawbars — by choosing a dedicated instrument for the task.

Have more questions? Our Sales Engineers are here to help you choose the best keyboard for your church’s goals. In fact, what you see in Worship Sound Pro is just a small sampling of the many keyboards we have available. Give us a call today at (800) 222–4700.

Customer-favorite Keyboard PicksYamaha MOTIF XF8

Kurzweil PC3K8

Roland Jupiter-50

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When Less Is MoreMany church pianists we work with often feel overwhelmed by the number of choices out there — and even more so by the number of knobs, buttons, and controls on keyboards. “All I need,” they tell us, “is an instrument that plays like an acoustic piano and has a fantastic natural piano sound.”

If this sounds like you, you’ll want to select what’s called a stage piano — and ideally one with a full set of 88 weighted keys (also called weighted action). These keyboards actually mimic the response of a grand piano’s keybed, where the lowest keys require more force to strike, and the upper keys feel light and airy beneath your fingertips. To nail the sound of an acoustic piano, today’s top keyboard manufacturers have gone to great lengths to record some of the finest grand pianos in the world, putting these sounds right inside the instruments. Not only can you get the sound of a classic Steinway, but on many you can also push a single button to get the sound of a Bosendorfer, a Yamaha C7, or a character-filled upright.

If you’re replacing an acoustic piano, you should consider the importance of aesthetics to your church. If you have more-traditional services or are seeking a really natural look up on the platform, then you may want to choose a more authentic-looking stage piano. We have options available with wooden cabinets, in a variety of finishes, so you can choose an instrument that matches the decor of your church.

Choosing the Right

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

As you take a look at the keyboards featured on the next few pages, these five factors will help you start narrowing down your decision:

1. Action Do you want keys that are weighted to feel and play just like an acoustic piano’s? Or do you want keys that glide beneath your fingers so that you can easily play synth and organ parts?

2. Sounds Do you primarily need an authentic acoustic piano sound, or would you like to have other sounds such as strings, synths, electric pianos, organs, and more?

3. Arranging/Recording Capabilities Will you be composing songs with your keyboard? If so, you may want to have a built-in sequencer, onboard drum sounds, and a direct-to-computer connection.

4. Size and Portability Choosing a 76-key keyboard instead of a full-size 88-key instrument can be a great way to cut down on weight while maintaining a first-class playing experience.

5. Appearance How important is it that your church’s keyboard resemble an acoustic piano? Do you want an integrated stand, or would you prefer to use a more portable stage-style keyboard stand?

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Whether your future wireless system is a single-channel, single-speaker setup or a larger system for the whole worship team, it should effectively and accurately spread the message.Unfortunately, many budget-priced wireless systems may make it difficult and unpleasant for your congregation to hear that message. If the number of quality wireless systems you needis beyond your current budget, practice wise stewardship and save your money until you can afford the system that yourhouse of worship deserves. There are excellent single-channel wireless systems that you can start with and expand later. YourSweetwater Sales Engineer will be happy to help you find the right system for your church.

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

8. Build the mix by bringing up the volume faders for the basics first.

Start with the bass drum and the bass guitar, turning them up to a comfortable level and balancing them against one another. You may need to adjust the level of the master volume fader to get the overall level to the right point.

9. Turn up the volume faders for the vocals.Now focus on the vocals. Set them to a comfortable level, balanced against the bass guitar and the bass drum. The lead vocalist needs to be the loudest, with the background or harmony vocals filling in behind.

10. Turn up the volume faders on the other instruments.

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

11. It’s time for the equalizers.Up to this point, we haven’t touched the equalizers (tone controls) on the mixer. If you find that the sound is getting too bassy or boomy, use the “low” or bass tone control to reduce the bass frequencies a small amount on instruments such as bass guitar, keyboards, and piano. Vocalists, especially male vocalists, may also need their bass reduced a small amount. To increase the clarity of a vocal or an instrument, add a small amount of treble or high frequencies by using the tone controls on that mixer channel. Be careful with the tone controls, as overuse can lead to feedback!

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

spikes in sound. Ask each worship team member what he or she needs to hear from the monitors — one at a time so that everyone doesn’t speak at once — and adjust the auxiliary sends accordingly.

13. Don’t try to overtune the mix, and don’t make it too loud.

Set things up so that they are clean and clear, and at a comfortable, conservative volume level. Then stop! Once you get to the point where it sounds okay — this should happen fairly quickly — stop tweaking the knobs. It’s easy to lose perspective and get lost in knob turning, even though the goal has already been achieved.

14. Here’s a final tip.When in doubt, focus on making the vocals, whether spoken or sung, clearly audible. The congregation is there to hear the message, which is contained in the words and lyrics. The music is inspiring and essential to a great service, but it plays just a supporting role in the grand scheme of things. Ensure that the vocals are heard, and the service will be a success!

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Though creating the perfect sound mix for a service is a true art, a sound person with little or no mixing experience can still achieve good sonic clarity and deliver the message with pleasant and effective audio. Here are some tips for saving the day with a quick, last-minute mix — whether you are working the sound booth yourself or have the help of a volunteer.

1. Keep it simple.Unfortunately, mix emergencies rarely occur when you have loads of spare time to work on a solution — it almost always happens minutes before the service is supposed to start. While your sound booth may have racks of processors and sophisticated audio equipment, now is not the time to experiment with effects or to randomly start turning knobs. Focus on the bare minimum you need to get the job done. Leave the special effects for another time.

2. Use what’s already there.Hopefully, your sound system is already set up, the cables and the snake are run to the mixer, and the monitors are tuned in to prevent feedback. Plug the mics into the mixer or snake in their usual positions. Try to use the same “old standby” microphones and other gear you usually use — again, now is not the time to experiment with new gear!

3. Have a conversation with the worship team.Explain to everyone that the regular sound person is not available and that help is required to have the service go well. This means guitarists need to turn down, drummers need to control volume, and so on. Explain that the monitor

system may not be perfect — forewarning the team that everything may not be ideal will go a long way toward easing the process for everyone. At least they will know what to expect!

4. Turn it on.Turn on the speakers or the amplifiers last; this prevents loud thumps and pops from coming through the system.

5. Reset the mixing board.Begin by pulling all the volume sliders (faders) down to zero. (Usually these are found at the bottom of each channel on the mixer.) Set the channel gain to a mid position (Usually this knob is found at the top of each channel on the mixer.) Next, reset all the equalization (tone) controls on the mixer to their center position, which is essentially off. Turn the auxiliary or monitor sends off. Make sure that mute or solo buttons are disengaged. (Usually these buttons are off in the up position.) Set the master volume fader to about 50%.

6. Begin testing each sound source through the mains.

Have the main vocalist speak or sing into his or her mic. Bring up the volume slider until you can hear the vocals in the main speakers. Turn up the auxiliary or monitor sends until the vocalist can hear himself or herself in the monitors. As you verify that each mic or source works, pull its volume fader back down to zero. You can leave the aux (monitor) sends turned up so that the singers can hear themselves. To prevent feedback, don’t run the stage monitors too loud.

It’s bound to happen at some point: the mix disaster. Maybe your church’s regular sound person calls in sick at the last minute. Maybe the new volunteer sound person doesn’t know a volume slider from a sliding door, or a mixing board from a mixing bowl. Whatever the circumstance, something has to be done to save the service. Without decent sound, the congregation won’t be engaged or inspired by the music, and the message may be completely lost.

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34 The Indie Mechanics by Keith Mohr & Sue Ross-Mohr

Who is Your Audience? No Really???!? Who are They?

36 The Fretboard Less Traveled by Rich Severson

“What A Friend We Have In Jesus” ~ Analyzing a Jazz Re-Harmonization

38 Ask Joe by Joe Riggio

41 Guitar From A 2 Z by Roger Zimish

Re-encounter Your Guitar

44 Product Review by Michael Hodge

Hagstrom Tremar Swede

46 Stereotyping by Bryan Duncan

Features 8 Product Review by Bruce Adolph

Creature Comfort with the new WCG25SCE Guitar by Washburn

10 Bassic Communication by Norm Stockton

Developing Your Inner Clock (Part 4)

12 Guitar Workshop by John Standefer

Smoothing Out the Rough Spots

14 Drumming Dynamics by David Owens

Grooves from Africa

16 Vocal Coach’s Corner by Roger Beale

Basics (In)Sight

18 Show Us Your Groove by Chance Scoggins

That’s What Love Does

26 Selective Hearing by Shawn McLaughlin

Sixpence None the Richer Andrew Peterson Phil Keaggy Blues Counsel w/ Phil Keaggy Jon Gibson House of Heroes Rhett Walker Band

30 Product Review by Doug Doppler Line 6 StageScape M20d

32 Keyboards by Erick Hailstone

CONTENTS

4227 S. Meridian, Suite C PMB #275, Puyallup Washington 98373Phone: 253.445.1973 Fax: 253.655.5001

Email: bruce@christianmusician.comWebsite: www.christianmusician.com

Editor & President: Bruce AdolphVP/Office Manager: Judy Adolph, judy@christianmusician.com

Customer Service: Brian Felix, brian@christianmusician.comStreet Team: Mike Adolph, Jesse Hill & Winston

Design & Layout: Matt Kees Copyediting: Kevin WilberAdvertising Sales: bruce@christianmusician.com

Published by the Adolph Agency Inc.Continued on page 45.

Interview 20 Dave Cleveland Insights from the Nashville Session

Ace by Bruce Adolph

CHRISTIANMUSICIAN.COM SEP/OCT 2012 7

The Dynamic Duo is Back!Over 10 years ago (back when Judy and I were just engaged) we

traveled to California’s Bay area to a conference that was just for Christian guitarists. Reggie Coates produced it for many years there in Castro Valley at the Neighborhood Church, and in fact some of the concepts of our current day Christian Musician Summit conferences were born from attending Reggie’s events.

Phil Keaggy and others would perform and there would be guitar and bass clinics all day long. We had a booth there for Christian Musician magazine and we would sell capos, guitar strings, and other odds and ends to help cover our travel expenses. We would stay at my mother’s house, so that was a bonus as we could visit with her.

At the conference our exhibit booth was in the church foyer, and from that base station we met several people who still remain our friends today. In the booth next to ours was a friendly, longhaired guy wearing lots of tie-dyed clothing. That was the day we met Tim Moon (still one of the last street musicians singing songs about Jesus and life out on the street corners of San Francisco). Tim has since traveled to many of our events and he teaches street ministry workshops for us. In another booth we met Rich and Gail Severson. Rich used to be a professor of guitar at the Musicians Institute in Los Angeles. We hit it off well with them, and Rich is a regular columnist for us and also has taught at many CMS events.

Judy and I are both gregarious by nature and we had fun talking to the guitarists who were stopping by our booth. We met Miles and Jillian McKee there, of Avalon Guitars, and for several years after that we would help them find artists to endorse their instruments.

It was at this conference that while we were sitting backstage talking with Phil Keaggy he leaned over to Judy and said, “I would like to audition to play your wedding.” Judy didn’t know that I had asked Phil to be part of the ceremony, so this came as the big surprise that I wanted it to be. Phil ran through a couple of songs for us and Judy was just beaming. It was something I will never forget. She gracefully accepted his song selections and we walked out of the room elated.

We had fun working events together, and then after the honeymoon and with a newly blended family our opportunities for being the ‘dynamic duo of booth working’ started to diminish with Judy’s focus turning towards the duties of home life and two of our boys living at home.

We did go to a local vintage guitar show in Kent, WA where we were a vendor and had fun selling guitars and accessories. That

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PRODUCT REVIEW

Creature Comfort with the new WCG25SCE Guitar by Washburnby Bruce Adolph

The WCG25SCE is a Grand Auditorium style acoustic/electric guitar with a Venetian cutaway. A highlight of this model is the beveled top at the lower bout, which becomes part of the beautiful mahogany binding.

The first time I ever saw a beveled top on a guitar was at the Winter NAMM show about three years ago. It was on a R. Taylor custom shop acoustic guitar that retailed for around $6,500. I wanted to see what it felt like on the strumming arm, so I gingerly picked it up and played a few chords. Oh, my gosh!

It is noticeably more comfortable. I thought

to myself, “Well, that is a lot of money, but it sure feels nice to my arm.”

Now Washburn has added a bevel top with a blue-collar price tag.

Kudos! They call it part of their Comfort Series, and this guitar is just that… very comfortable. I played it, talked with my wife Judy while holding it, and then played some more and my right arm just felt great. The bevel will help fight arm fatigue and even give you more of a reach to play over the sound hole easier if you are a person of smaller stature.

The WSG25SCE guitar features a book-matched solid Sitka spruce top, rosewood back and sides, and a mahogany/maple bound body and headstock. The mahogany neck has a rosewood fingerboard with no inlay markers, and in tandem with the mahogany bound rosewood bridge adds a sense of understated elegance. There are fret markers on the top of the fretboard binding so you

can get your bearings as you play.

A maple/mahogany/maple strip splits the book-matched rosewood back as well.   The rosewood-capped headstock features a pearl inlaid Washburn logo and stylized ‘W’ as well as Washburn branded die cast tuners with ebonite buttons. The rosette is made of alternating maple and mahogany.

Judy’s comment was, “That is a beautiful guitar!” Right away she wanted to hold it and test out the bevel. Her next thought was the clincher, “How come all guitars don’t come with that”. Well-said honey!

How would I describe the sound of this guitar to you? Warm and woodsy. The more I played it the more it grew on me. The tonewoods give it a nice sustain. The fretwork is well done, and whether chording or soloing… the neck felt good. The cutaway’s construction gives you a firm foundation to comfortably reach quite high on the fretboard. You can easily chord on the 12th fret and higher (you are almost into mandolin territory at this point).

The WCG25SCE sports premium Fishman electronics; namely, the 501T unit, which is an integrated tuner/mic/under saddle pickup combo for versatile amplified tonal shaping. The tuner is easy to use and quite cool visually.

I always tell folks that the best combination for a performance stage guitar is a solid spruce top with rosewood back and sides, a nice cutaway, and a good pick-up system. This Washburn guitar delivers all that plus the beveled edge so you can strum yourself silly and feel great the whole time… the WCG25SCE is a very good value.

Suggested Retail Price is $1069.90. It will street around $699.00 or so. The only thing I wish was included was either a hardshell case or a nice padded gig bag. This guitar is too beautiful not to come with something to protect it.

For more information on Washburn, visit www.washburn.com

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Welcome back to the woodshed!

We’ve been putting in focused time on calibrating our internal clocks, with the added benefit of working on sight-reading rhythms at the same time! I hope this finds you well on your way and getting comfortable with the click. It really is the “eating your veggies” part of music…but SO worth the investment of time and effort!

One of the common traits of really groove-oriented players is that they internalize the subdivision of the groove, whether they’re actually playing those subdivisions or not. They can play a really syncopated and busy line, or a relatively simple and legato part, yet any embellishments or variations they play are completely lined up with the underlying subdivision or grid.

We’ll be exploring that idea in this installment. If you look at Exercise 1 you’ll see a fairly straightforward rhythmic motif. If you compare the first and second measures of the phrase, it’s

Developing Your Inner Clock (Part 4)

Norm Stockton is a bassist/clinician/solo artist based in Orange County, CA. Recently departing from his long tenure as bassist with Lincoln Brewster, Norm is focusing on equipping bassists around the world through his new instructional site (www.ArtOfGroove.com), as well as freelancing (including tour dates with Bobby Kimball, original lead singer of TOTO). Also visit Norm at www.normstockton.com, Facebook & Twitter.

metronome.

• Once again, we have our two rhythms for the metronome or click in the top 2 staves. The first one is really straightforward, clicking on each quarter note (“1, 2, 3, 4” – try setting the click to 90 bpm), while the 2nd staff reflects the click hitting just the backbeats – it should feel like playing to a drummer’s snare drum.

• Don’t take the repeats literally (i.e., playing each figure only twice) – play each figure as many times as it takes to really internalize it…then play it some more!

• Listen intently for flams (two distinct, nearly-simultaneous hits) resulting from your note not occurring precisely with the click. Keep repeating the exercise and see if you can execute it “flam-free”.

• Make sure to tap your foot on the quarter notes and assimilate both the tempo, and how the various subdivisions feel over those quarter notes. Ensure your foot doesn’t depart from those downbeats, regardless of the rhythmic figure being played or metronome figure used.

• We’re still working with ghost notes, so just mute the strings with your fretting hand and pluck as normal. Ghost notes are perfect here, as the click should disappear when you’re locking with it.

• Record yourself repetitively playing these exercises and listen back critically for flams.

• Once these exercises are coming together, practice them at a variety of tempos – the slower tempos can be surprising challenging to play accurately.

• Play them while dynamically alternating between loud and quiet (gradually getting louder or quieter over the course of several repeats), striving to keep the rhythmic accuracy regardless of dynamic level.

Have a blast and see you next time!

(Adapted from curriculum in the Grooving for Heaven instructional DVDs and ArtOfGroove coursework)

quickly apparent that they’re identical except for the added 8th note on the “and” of beat 1.

Exercises 2 and 3 are the same rhythmic motif, but with some of the notes tied together. For those of you who are new to reading, simply let the first note sustain through the tied note as well (don’t pluck it on the tied note).

Exercise 4 is almost identical, except for the added 16th-note right before beat 1 of the 2nd measure.

These exercises imply an underlying 16th-note subdivision, although neither the click nor the majority of the line do. If you can internalize that subdivision as you’re playing these, you’ll be well on your way!

Here’s our list from before on things to keep in mind:

• Feel free to spend a moment getting the exercise in your head and under your fingers without the click. Once you’ve assimilated it, play it with the

© 2012 Stocktones Music

Bassic CommunicationDeveloping Your Inner Clock (Part 4)

Norm Stockton

Metronome Clicks on quarter notes(Tap foot on each quarter note)

Metronome Clicks on beats 2 & 4(Keep tapping foot on each quarter note)

Exercise 1

Exercise 2

Exercise 3

Exercise 4

10 SEP/OCT 2012 CHRISTIANMUSICIAN.COM

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Norm’s Clinic and Appearence Schedule 2012Unite Conference at WFX, Atlanta, GA Sept. 19-20Unite Conference, St. Louis, MO Sept. 24-25Virginia Bass Forum, Fredericksburg, VA Sept. 29Unite Conference, Pittsburgh, PA Oct. 1-2Bass Specialties, Philadelphia, PA Oct. 3Unite ConferenceUnite Conference, Boston, MA Oct. 8-9National Worship Leader Conference, N. San Diego, CA Oct. 11Concerts with Bobby Kimball (TOTO), Pleasanton, CA Oct. 18-19Bass Player Live, Hollywood, CA Oct. 20Instrumental Music, Ventura, CA Nov. 7Christian Musician Summit, Redmond, WA Nov. 9-10The Outtengrand Orchestra, Yorba Linda, CA - Dec. 1-2

Smoothing Out The Rough Spots

Check out John’s 5-DVD set ‘Praise Guitar Lessons’ at the ‘store’ page at www.johnstandefer.com. You get 52 video lessons similar to these CM articles, but you can see and hear the lessons! Includes charts. Also consider private lessons with John via Skype!

Have you ever noticed that the best guitar players seem to make their performances look nearly effortless? You can also hear it in the sound, which is often as smooth as glass. This is an effect that I’ve strived for all my life. When I was a kid, I learned to play many arrangements of my guitar hero’s note for note; but still my performance didn’t sound like theirs because of that ‘smoothness factor’. Over the years, however, I began to unlock the secret to smoothing things out. There are actually two key factors at play that are working in harmony with each other. One is ‘minimum movement’: the art of economy in motion. The other is ‘overlapping notes’: allowing notes to sustain as long as possible past the moment in time when they are played. Here is an exercise for you to work on.

First of all, play the top line a few times to familiarize yourself with it. You can see that the exercise is just a series of fingerpicked

chord arpeggios that use the T,1,2,3 pattern on the right hand while holding common chords with the left hand. But... now try this. Go slowly at first and make a hard and fast rule of not picking up any left hand fingers until they absolutely have to move. And don’t mute any open notes that are ringing either. You’ll find that you still have fingers holding down notes from previous chords as new ones arrive - and the overlapping of these notes from the previous chord sound like a piano player pushing down the sustain pedal. It takes some concentration and coordination to do this well, but keep practicing until you get it.

In line 2 of the exercise, syncopation enters the picture where the last note of each phrase is an anticipation of the chord in the upcoming measure. You actually begin to change chord positions a half beat earlier than in line 1. This adds a bit more difficulty but produces a cool

groove to the rhythmic feel.

Now try playing an accompaniment arrangement of a tune where the chord progression and style is similar to these exercises (‘My All In All’ is a good place to start). The more you incorporate these ideas into your playing, the smoother you’ll sound! - JS

C G/B A‹7 G F6 G C

C G/B A‹7 G F6 G C

Exercises in 'Overlapping Notes'

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For the last several years I have had the pleasure of drumming for The Tommy Coomes Praise Band. One of the things we do is play for all the Franklin Graham events worldwide. Last April we went to Accra, Ghana in West Africa to play for a Jesus Festival. These grooves are from a local group from Accra I met called Joyful Way Incorporated. The CD is called Higher Praise. Excerpts of these songs can be heard on iTunes for free.

The first time I saw Joyful Way play I was knocked out by the music. It was impossible to stand still. The drummer was fantastic and I was very moved by his worshipful and joyous attitude when he played. Paa Kojo Amos is his name, and after meeting him it was apparent he was on fire for Christ. We have stayed in touch via e-mail ever since. He is trying to start the first drumming school in West Africa so I am trying to help him learn to transcribe drum parts.

David currently tours with Fernando Ortega and has worked with Sara Groves, Bebo Norman, Crystal Lewis, Cheri Keaggy, Tommy Walker, Paul Baloche among others. He has played for Billy and Franklin Graham Crusades, Harvest Crusades,

Maranatha Worship Leader Workshops and for over 2 years he was the house drummer for the Los Angeles production of The Lion King. His home church is Plymouth Church in Whittier, California. www. DaveOwensDrums.com

Grooves from Africa

I have always enjoyed different kinds of world music, and West African rhythms in particular have intrigued me for years. One of the traditional rhythms of West Africa is called high-life. The first song, “Higher Praise”, is a derivative of the high-life groove, but at a faster than usual tempo. Some may call it Jama, or traditional church high-life. “Ose” (Praise) is more of a traditional high-life groove. “Di De” (Rejoice) is what they call hip-life, which is a hybrid of high life and hip-hop/funk. “Wo Din” (Your Name) is a six over four groove called “Adowa” from the Ashanti region of Ghana.

Learning rhythms like these can open us up to finding creative and different grooves of our own. I’m not an expert in African rhythms, but I love to let them influence my playing. It is such a blessing to have the opportunity to experience foreign cultures and make new friends. All the drummers and percussionists I saw play in Africa were amazing and I can’t

wait until my next visit. I hope to spend more time transcribing many of their grooves and sharing them with you all.

Blessings, David

14 SEP/OCT 2012 CHRISTIANMUSICIAN.COM

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Roger Beale is one of the nation’s foremost vocal coaches. He presently works with professional singers in all areas of musical performance. His teaching and coaching facility, The Voice House, is involved in the management and care of the professional voice. Many of his students have won

prestigious vocal competitions and scholarships. In addition, he has worked with Grammy and Dove award winners and nominees. He also offers vocal clinics and seminars, as well as assistance in recording sessions. Roger is an adjunct professor in the Fine Arts department at Point University (formerly Atlanta Christian College), website: www.point.edu. Roger can be contacted at: The Voice House, 1029 Peachtree Parkway, Suite 276, Peachtree City, GA 30269, (404) 822-5097, e-mail: voicehouse@mindspring.com.

Recently I was asked to do a vocal praise team rehearsal. I agreed to show up at the proper time and began to prepare. I was sent the set list, recordings, worship flow chart, and list of personnel. All this was done by using the Internet tool, Planning Center.

I then ordered the vocal chart through the Internet site, Praise Charts. I had all of the music organized, collated, and placed on each singer’s chair. I was ready to teach them their vocal parts in three-part mirror harmony and two-part rock harmony. I also planned to add a touch of ‘blues’ vocal style on one song and discuss changing from head to belt voice on two of the other songs. I was ready!

At the appropriate hour the singers arrived, greetings were exchanged, and prayers were prayed. We were about to start the rehearsal when one of the singers held up his collated music ordered from Praise Charts and said, “What’s this?” I responded by telling him that it was the vocal charts for Sunday’s service music. He replied, “Oh, I don’t read music. I just need the words.” He then held up his own stack of papers with just the words of the songs downloaded from a different source. Yes, you guessed it. The words were different from everybody else’s and we spent much of our limited rehearsal time trying to correct the “word sheet” because the pre-chorus and the bridge were in the wrong place. All of my organizing, planning, teaching methodologies, and use of super-duper Internet products couldn’t help me here. My rehearsal was doomed! Not only this gentleman, but three out of the four other worship team members couldn’t read music or find their way around a vocal chart. Yikes! Have we gone backwards with music education?

I then decided to do an informal survey with some music ministers I was acquainted with. I questioned them in regards to their vocal team members. The questions dealt with five areas: 1) Sight-reading. 2) Rhythm reading and subdivision of beats. 3) The ability to recognize and correct musical problems. 4) The ability to read a voice part in three-part

singing skills.

In your rehearsals, may I suggest several ways to emphasize basic musicianship? 1) Have the singers prepare the rhythm and pitches of one song per rehearsal. 2) Require the singers to break down and fix any musical and rhythm mistakes that occur. 3) At the rehearsal, constantly question the singers about the time signature, the beats per measure, and the basic subdivision of the song (2 or 3). 4) Ask the singers to demonstrate the tempo, and 5) Have the singers speak the words while maintaining the beat with their hands. Good musicians realize that pop/rock music really comes alive when the rhythm is precise and drives the song. You are then “in the pocket.”

Once this process of musical learning is started, your singers will get used to it and derive great satisfaction from being able to solve musical problems on their own. A consistent application of a musicianship and sight-reading agenda will lead to a functional understanding of the music. Much will be gained with better musicianship. The Levites did it. Why can’t you? Now go sing well!

mirror harmony, and 5) The ability to retain a voice part in a three-part mirror harmony setting.

In the opinion of those who completed the survey, the majority of their vocal praise team members were at the most, minimally skilled in the first three areas of musicianship listed above. While not highly skilled, their vocal team members could somewhat retain a voice part in a three-part mirror harmony setting. Those surveyed did not seem overly concerned about this skill as long as at least a two-part harmony was in existence. One fellow said that “three-part harmony was just too hard for his singers to learn, so we just do two-parts, if we’re lucky.” Yikes, again!! No wonder the band won’t hang out with the singers.

Wouldn’t having basic skills in musicianship work to the advantage of vocal praise team members? Indeed! I would hope so. Vocal praise team rehearsals usually have time constraints that impact the rehearsal process. Limited rehearsal times do not offer the luxury of numerous repetitions. Few vocal praise team auditions even require sight-reading at the audition. But some singers may not be retained when other singers, who read music, become available. I have seen this happen many times.

This informal survey also indicated that expectations from ministers of music are very low. They tend to teach voice parts by rote with many vocal team members recording their own vocal parts during the rehearsals. Some even used computer-transposed recordings where the voice parts sound like Alvin the Chipmunk, or Lurch from the Addams Family. This can’t be good! Praise team rehearsals are for vocal ensemble work, and singers who can sight-read definitely have an advantage. While vocal rehearsal cannot be expected to substitute for basic music theory and sight-singing courses, it is worth the investment in time and energy to give just five minutes of the weekly rehearsal to the teaching and reinforcement of sight

Basics (In)Sight

16 SEP/OCT 2012 CHRISTIANMUSICIAN.COM

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Recently, while visiting family in our hometown of Syracuse, NY, I had an interesting encounter with an elderly woman while spending some time with a friend at a rehabilitation center. When I was walking down a hallway on my way out of the building, I saw a woman in a wheelchair barely moving, head down, and looking very sad and distant. I walked up to her and said, “How are you doing today?” She slowly, and with much effort lifted her head, looked directly at me and said “Not good!” Then almost without pause said, “I’ve been waiting for you…I need to go someplace.” “Where do you want to go?” I asked. “Wherever you want to take me”, she said with a smile.

After a few more minutes I finished our brief chat and realized that although we can’t always take people where they physically want to go, we can take them places through love with just a few words and a show of kindness.

THAT’S WHAT LOVE DOES,

IT REACHES OUT AND PULLS YOU IN

These lyrics, from a song I co-wrote with Bob Halligan Jr., jumped out at me and made me again realize that love transcends perceived obstacles, penetrates hard places of the heart, and brings life back into the soul.

In my life I have realized over and over again that the single most effective weapon I have available to me for living life in Christ is Love.

1 Corinthians 13:13 says “And now these three remain: faith, hope and love. But the greatest of these is love”.

How many times have we heard this verse? Over and over I’m sure. My question for us is, do we really know what love can do and how important God’s message of love is to us all?

In Matthew 22: 37-39 – When asked which is the greatest commandment in the law…Jesus replied: “‘Love the Lord your God with

all your heart and with all your soul and with all your mind.’  This is the first and greatest commandment. And the second is like it: ‘Love your neighbor as yourself.’ Not just second to it, but like it!

The benefit of loving God and loving people is always the same: possessing the comforting knowledge that you are living life God’s way, and also knowing that ALL are being blessed in the process.

We’ve all heard the saying “A smile is contagious”. How true that is, but I would also add “Love is contagious”. To see love displayed through kindness not only brings a smile and warms you up, but also make you want to duplicate it.

In 1 Peter 2:17 we read, “Honor all people, love the brotherhood, fear God, honor the king.” In this verse Peter encourages us to “fear God” and to honor everyone from “all people” and “the brotherhood” to “the king.” Not only a good king or ruler who we respect but also the tyrants of that day. What would love do to THEM? On the surface maybe not much, but if we believe in the power of love and the importance of love according to God and His word, maybe more than we could imagine.

Love covers, love forgives, love protects, love encourages, love lifts up, love draws, love shares, love believes in, love sacrifices for, love goes above and beyond…LOVE PUTS OTHERS FIRST.

Romans 12:10 – Be devoted to one another in love. Honor one another above yourselves.”

THAT’S WHAT LOVE DOES,

IT TAKES YOUR HAND AND CALLS YOU FRIEND

We’ve all been there…you’re at a party or an event and there are groups of people talking and having a great time, but off to the

side there’s always someone looking like a fish out of water, or someone standing near but not being included in the conversation. How awkward that must feel for them. I actually remember that feeling well, and many of you may remember it too. That’s when you say to yourself, if just for a moment, “Never again. Never will I venture out of my comfort zone.”

The truth is, we can change everything in that single moment for someone if we decide to go into situations looking for people who are disconnected, bringing them in to the conversation and engaging them with interest. They will walk away feeling loved and maybe even braver for their next encounter.

The real question is, are we willing to do the work. It does take effort, and there is a price. It’s no different at church, work, or school where much of our joy comes from seeing our friends each week and getting to catch up a bit. That’s great and needed, but don’t forget to ask God for a connection to others that need us as well. YOU DON’T HAVE TO ABANDON ONE TO LOOK AFTER ANOTHER. I am fully convinced that in God’s economy we can do it all and not miss a thing. There will be a difference though: a greater feeling of purpose and completeness at the end of the day.

That’s What Love Does!

That’s What Love Doesby Rick Cua

Not just a musical artist, Rick knows the business of music as well. Besides being a music publisher, artist manager and booking agent, he founded and ran his own record label, UCA Records, in the 1990s which led to a position for five and 1⁄2 years as Vice President, Creative/Copyright

Development at EMI CMG in Nashville. There he managed a large songwriter roster and exponentially grew revenue through film and TV licensing, song promotion and print music development. He is currently on staff as the minister of Pastoral Care and Visitation at Grace Chapel in Franklin, TN.

18 SEP/OCT 2012 CHRISTIANMUSICIAN.COM

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Dave Cleveland is one of the “most in demand” Nashville session guitarists. He is also one of the nicest guys in all of Nashville. He has played on so many mainstream and Christian artists recordings that you have already heard a lot of his guitar playing and didn’t even know it. Here are a few to help you capture that last statement… Steven Curtis Chapman, Point of Grace, 4 Him, Crystal Lewis, Michael O’Brien, Cindy Morgan, Anointed, Russ Taff, Steve Green, Wes King and Out Of The Grey, Girls Generation (23,000,000 views), Miley Cyrus, Paul Brandt, Martina McBride, Stephen Stills, Judy Collins, Damien Leith (Australian Idol winner) and with the Nashville Symphony: Winona Judd, Phil Stacey, Jordin Sparks, Melissa Doolittle. Not to mention also playing live with Amy Grant, Michael W. Smith, the Katinas, David Baroni and the aforementioned Steven Curtis Chapman.

DAVE CLEVELANDinterview by Bruce Adolph

I went on my FaceBook page and asked if there were any questions you would like me to ask Dave. Several of those appear below along with my own questions rounding out the interview. Read on – there are good things here to gain insights from.

What are the advantages and disadvantages of being a session guitarist, compared to a “stage guitarist”. And if you had a choice, what would you recommend?

Dave Cleveland: The thing I love most about doing session work is the creative process. When I first started doing sessions I didn’t trust my instinct. I would hear an idea in my head and immediately think, “That’s not a good idea.” I would stop the creativity from flowing before it ever got started. I can’t remember the project that I finally gave in to that first inspired idea, but I remember the

Insights from the Nashville Session Aceway it made me feel. I trusted my instinct and it worked! It was a simple part I hummed to myself and it made the song come alive. So, little by little, I started trusting that first idea that would come into my mind. Sometimes it’s not exactly right, but at least I’m not afraid to go for it. I think we should all learn to trust that inspiration that God gives. It will allow creativity to start flowing.

So, I love that part of doing sessions. Plus, after a song is done I don’t have to try and figure the part out again. I get to leave that to the guys playing it live! The disadvantage to doing sessions is the lack of interaction with an audience. I used to so enjoy coming on the stage after the prelude and kicking into, “Saddle Up Your Horses”! We would work really hard to play parts over and over until the band was super tight. There is a joy and unity in a well-rehearsed band.

CHRISTIANMUSICIAN.COM SEP/OCT 2012 21

As far as playing in a worship band, that is another part of live playing I love. A few weeks ago we played at a Gospel Music Association event where Michael W. Smith was the worship leader. We all knew the songs, and with very little rehearsal we started flowing in worship together. Everyone was listening intently to Michael and his piano so that there was no room for “me” moments. There was just a conscious effort to honor God with all that we had.

There is so much power in a band that is fixed on Christ, playing reserved, flowing, and listening to everything that is happening so when it is time to play intensely it is in the flow of what God is doing in that moment. Some of my most memorable worship experiences are of me playing no more than a big chord and letting it ring out. You start to understand that the anointing of God on one note is so much more eternally powerful than a multitude of notes played in our own strength.

For me, playing in the studio is where God has me now. But I do love being a part of live events as well.

Apart from God-given talent, what is it that enables a session guitarist to be so versatile, in terms of playing different genres? Is it helpful to listen to other guitarists’ styles of play? And, if so, who do you like to listen to?

DC: As a session player I listen to all styles. It just gives me more info to draw from. I grew up listening to Django, Roy Buchannon, Larry Carlton, and all the iconic rock players: Clapton, Hendrix, Page. But now I get as much out of listening to a drummer or pianist as I do guitar player.

I work with Steve Brewster, Mark Hill, and Jason Webb a lot. They are always inspiring me by their playing. It’s like, by listening to them in my headphone mix, I am really listening to everyone that influenced them.

So I always have my ears open to all instruments, not just guitar.

Pedal boards… please tell us about some of your favorite pedals and how are you using them?

DC: It seems my pedal board is in a constant state of change. I’m always trying new pedals to find “that” tone!

I will say this. I have recently been turning the output of my pedals down and turning the gains up. I do this so I don’t clip the front of the amp too much. There is a sweet spot

with pedals and amps. Sometimes you need to really drive the front end of the amp. But I have found that if you have a great clean tone you can hear the character of the pedal a lot better. I also like gain stacking the pedals. We could have a whole article just on that subject!! I use Tyler amps to get that great tube amp sound. And on the subject of amp tones...

Things translate differently in the studio with your cabinet far away from you in another room, rather than sitting right next to you. Sometimes you think you’re getting the best tone in the world while the amp is in the room with you, and then you put a mic in front of your sound and it sounds thin, or buzzy, or muddy. Try and mic up your rig sometime and be really honest about what you hear. When everything is right you will feel that electricity in your fingers like the notes are jumping off the fret board. Yet another subject that could go on for days!

I just love to hear folks talk about the depths of God’s love and how that inspires them in their work. What is the source of your “Hope with No End”?

DC: That song was inspired by my relationship with my wife. Tammy and I have been married 25 years, and she is a constant reminder to me of God’s hope.

We have been through so much together. She almost died 3 months before we got married. A tumor had ruptured in her uterus and they thought they would have to do a hysterectomy. This didn’t happen, but the

complications led to 5 miscarriages and another tumor. God led us to adopt, and Olivia came into our lives at 1 day old. Hope was there. Then we had 2 kids biologically. Hope! And just a few weeks ago we adopted a 15-year-old boy from the Ukraine. So ultimately, the source is God’s never ending hope, but it has been shown over and over again through my wife and the family He has blessed me with.

I know you have quite a few different guitars at your disposal for your sessions. Tell us about a few of your mainstays (Acoustic and Electric) and then maybe mention a few of the more unique instruments you utilize?

DC: I’m really going through a phase of using older instruments. I’m not saying they are better than what is being made today, but they do have a certain vibe that I like. Here is a list of guitars I use everyday.

1967 Gibson Es-335

1965 Fender Jazzmaster

1967 Gretsch Nashville

1958 Gibson Les Paul (this guitar was meant to be played, not kept in a vault!)

Chad Walker 51 nocaster

Rust Strat (made by 30th street custom in New York. It’s a great 60’s feeling strat)

As far as Acoustics go I always use a variety of McPhersons, including an amazing 12 String they just built me.

A 1991 Olson Dreadnaught, 1943 Gibson LG-3, and a mid 80’s Guild JF-30(I use 9-42 electric strings on it and tune it up a minor third) Also I like to have a Ganjo, mandolin, and a Bouzouki with me. Always a classical guitar too!

What is your approach to guitar strings? Do you use one brand for all of your instruments?

DC: With strings I let the guitar tell me what it likes. I try different gauges on a guitar until I feel like the guitar speaks. I know it seems like putting big strings on your guitar would produce bigger tone, but I have found that some guitars actually resonate better with lighter strings. It’s a low cost way to get better tone. Once you find the ideal string gauge you can go even further by finding the brand of string that speaks the best for that guitar. On some acoustics the 80/20 nano web from Elixir is perfect. And on other guitars it’s D’Addario phosphor bronze, or Martin marquis.

For electric, most of my guitars like Ernie

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ball or D’Addario. There is no hard fast rule. Actually, my old Gibson acoustic has a set of strings that is 3 years old. They have been boiled and coated with a butter-based concoction!

I would also experiment with flat wound strings. They are the winner for my Jazzmaster. And yet another aspect would be where the guitar is tuned. Your combination of all the above could be: 12-54 flat wounds tuned down a half step. Or it could be 9-42 nickel wounds in standard tuning.

Ok, I’m done with that! There are endless possibilities!

You are teaching the Guitar Bootcamp for the Christian Musician Summit in Nashville. What are some of the topics you will cover in your class?

DC: I’m so excited about the Guitar Bootcamp! I’m really going to get everyone involved. We are going to talk about all aspects of playing in a worship band, like how to create parts, how to navigate through charts, and how to support the worship leader. I’ll have a bunch of gear there so we can learn about the way different guitars can affect the way a song sounds.

I’m going to help the players put it all together by creating groups of guitarists where they will have to present a song as a worship team. They will have to create parts and dynamics as an ensemble utilizing acoustic and electric textures. Beginners and advanced players will be mixed together to come together in unity to worship God. I can’t wait to see how the groups interact to create an “all guitar” worship experience!

I know a lot of times you are working with creative types, and I’m sure things can get tense. How do you handle the pressure of those times when creative minds are clashing?

DC: You are right! Things can get tense. Everyone wants the song to be as fresh and as modern as possible, so you can get a lot of opinions and ideas. I always try and listen to the producer and/or the artist first. They should have the first say in the creative process. Usually they will have the vision for what the song needs to be. This helps focus the players and keeps them on the same page. In situations where the players can’t agree on everything you have to defer to the producer to make the final decision. You might not always like that your idea got overlooked, but it’s okay. Don’t lose the creative flow over pride.

Most of the time when the pressure is on

everyone does the right thing. They listen to the producer, they listen to each other, and the goal of doing something special is accomplished. The players I get to work with have great musical sensibilities. If one of them is passionate about an idea, the other players usually will defer to that.

What advice would you have for guitarists who are pursuing session work?

DC: For sure I would learn the Nashville number system. Learn to play well in all keys. Learn to use a capo. Learn to play in as many styles as possible for acoustic and electric. Make sure whatever guitars you have are set up and properly intonated. Have a great amp and have a great direct rig.

Make sure your pedal board has a lot of tonal options. Here is an example of some pedals you should have: Wah, Compressor, Overdrive, Distortion, Tremolo, Modulation, Pitch Shifting, Delay, and Reverb. It should be wired professionally with no, or very little noise.

Here are guitars I would recommend to have as you get started:

Strat

Tele

Les Paul

Nylon string

Acoustic steel string

Variations on the above are fine and then

you can add to the list as finances permit.

The Line6 HD series is great for direct, and my favorite now is the Kemper profiling amp.

Know how to operate the gear you bring to the studio!

Learn to play slide. Keep extra strings, picks, tubes, cables, and anything else that you might need if something was to go out.

Always be early enough to the session that you have everything ready to go at the official start time. (or Down beat) When someone says they want to downbeat at 10 am, they expect you to be able to start recording the first note of the song at 10 am.

Always leave bad attitudes out in your car! You will be paid well to do your job. Respect the producer and artist by not showing up with a bad attitude. Do everything as unto the Lord. He is willing and ready to give His inspiration and guidance to every session.

You help a lot of other people with making their own music. Tell us about your own music that you make, and is it available?

DC: And I am so thankful that people have trusted me to play on their projects. I’m happy to say I have 4 CDs available. 2 are all-original and have a smooth jazz acoustic sound. They are: Within Reach and Hope In Motion. Both are available on iTunes.

The 2 other CDs are all guitar: Guitars in Worship and Guitars in Prayer. These 2 instrumental CDs are played regularly at

the Brooklyn Tabernacle Church for their prayer meetings and in between services. Guitars in Praise (cd number 5) will be out later this year.

I also have a DVD coming out called Chord Crunch. It is designed to help singer/songwriters play in every key with minimal hand movement. It will be available as an iBook as well.

I hope and pray that God will use something I have said here to inspire someone to know and love God more. At the end of the day all the talent, gear, and knowledge of music is so insignificant compared to knowing Christ and His love. But while we are here let’s use all the resources and talent He has given us to see as many come to Christ as we can. Let us really experience loving God with all our heart, soul, mind and strength. And love our neighbors like we love ourselves.

Thanks for the opportunity to share in your magazine.

24 SEP/OCT 2012 CHRISTIANMUSICIAN.COM

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Lost in TransitionSixpence None the RicherCredential

In the landscape of the current Christian music market, Lost In Transition is an unqualified success; full of strong melodies, the supple guitar wizardry of Matt Slocum, and Leigh Nash’s beguiling, clear-eyed vocals - all in support of a rapidly maturing lyrical craft that sees Slocum sharing the load with an increasingly prolific Nash. However, in the scheme of all things Sixpence, the new record is not quite up to par with their past 3 discs, especially in terms of musical continuity.

The album starts very strong with three GREAT tracks; the bright, somewhat fuzzy guitar-pop of “My Dear Machine” replete with blaring horn charts; the fetching “Radio” the sweet melody of which belies the melancholy of the lyric; and the ‘faith in the midst of storms’ anthem, “Give It Back”. Each of these tunes features an appealingly aggressive sound and some of Slocum’s sharpest and most varied guitar work. However, the tempo and pace of the album slows down considerably after this. The next three cuts are still quite strong with the “Fleetwood Mac meets Abba” groove of “Should Not Be This Hard” which, again, provides counterpoint to a paradoxically darker subject matter. “Safety Line” offers a piano based intro that segues into a lilting, beautiful melody with strains of Pedal Steel softly crying in the background. From this point on there are still highlights of the duo’s songwriting prowess (The emotionally charged, “Sooner or Later”, written by Nash and her husband, Stephen Wilson, about her recently deceased father) but they are somewhat undermined by repetition and, perhaps, too much musical simplicity.

Still, after a 10 year layoff, save for a 2008 Christmas offering and an EP, (from which all four songs make an appearance) It is refreshing to have Sixpence back, as even a somewhat uneven album by these masters is better than the majority of market driven music being made today. Like every album since This Beautiful Mess, this one was held up by industry red tape and distribution snafus. It will be interesting to see how a Sixpence project, NOT marred by the sometimes-staggering ups and downs of the music business machine, might turn out!

Light for the Lost BoyAndrew PetersonCentricity Records.

First, a huge ‘Bravo’ to Centricity Records for having the temerity to trust Petersons artistic instincts and giving him full reign on Light for the Lost Boy, a song cycle, first intended as a work dedicated to his boys, which quickly revealed itself to be far more universal: A tome for the fallen man, searching for what was lost in Eden.

Opening with the eerie, anticipatory percussion/keyboard/acoustic guitar intro of “Come Back Soon” the theme of life’s duality is clearly intoned in images of Nashville’s Mayday 2010 flood (it actually started the night before) as one is struck by the dichotomy of God’s might and it’s reflections in our world alongside of the simultaneous beauty and bitterness of nature, indeed, daily life. Yet, the song is imbued with the hope of Jesus’ impending return. “The Cornerstone” is a stunningly provocative offering that utilizes particularly cranky guitar sounds and enhanced (in relation to prior releases) production, courtesy of Cason Cooley, to effectively mirror the paradox of God’s mystery and power, subtly weaving biblical references throughout the song’s tapestry; “You’ve been a mystery since the moment that I met You / You never move but I can never seem to catch You.” After “Rest Easy” and “The Voice of Jesus”, two cuts that trade in gentle, lullaby like melodicism and tender lyrical encouragement, Peterson unleashes his considerable literary influences. “The Ballad of Jody Baxter” name-checks the youngster in the film, “The Yearling” likening the loss of innocence (That scene we all fast forward through in the movie) to humanity’s banishment from Eden – while “Day by Day” owes its genesis to a trip Peterson’s family took to Kensington Gardens, a setting made popular by J.M. Barrie in his “Lost Boy” masterwork, Peter Pan, the influence of which is echoed all throughout Light for the Lost Boy. In it, Peterson masterfully applies a Barrie metaphor to spiritual matters ““We just can’t get used to being here / where the ticking clock is loud and clear / Children of Eternity / On the run from entropy.” Yet soon after, encourages us with the promise of Christ’s regeneration; “Don’t lose heart though your body’s wasting away / Your soul is not--it’s being remade / Day by day.” 

While Peterson hasn’t changed his presentation much, he does benefit from the fuller production on several cuts, often propelling the songs to stirring heights, yet never obscuring

the delicate and conversational tone of his vocal delivery. One such adventurous soundscape is “Carry The Fire”, which features ascending rhythmic backing, sparingly used electric guitar, and appropriately atmospheric vocal-backings to convey the assurance and hope we have in Christ. Finally, the closing cut, “Don’t You Want to Thank Someone”, starts innocently enough before slowly building into an epic statement that brings Light For the Lost Boy full circle. Again using the backdrop of nature, Peterson continues to lament the heartache of the fall, but slowly reconciles being “eaten by this endless ache” with the realization that nature sings of the promised kingdom yet to come before deciding that the ache is worth the promise of redemption by Christ’s love.

Peterson is a singularly remarkable songwriter who is able to satisfy BOTH those who need more lyrical clarity and Christ-consciousness, as well as those who prefer literary allusion and artistically obtuse ideas. Very few writers have done this effectively over the years, especially with any radio or market success ( Probably Rich Mullins and, to a lesser extent, Derek Webb) but Peterson gets closer to that ideal with every project and, mark my words, Light For the Lost Boy is one for the ages!

The Cover of LovePhil KeaggyStrobie Records

Of course, any release from CM’s old buddy, Phil Keaggy, is a cause for celebration and, despite the unusual genesis of the project; The Cover of Love is certainly full of solid musical moments. A vocal album focused, as the title would imply, on songs of love and devotion, the collection is made up of 6 cover tunes (by the likes of Paul McCartney, The Moody Blues, Elvis and former Beatles confidant/author Ken Mansfield) as well as 4 Keaggy co-writes and two he wrote by himself. Several cuts (“Motor of Love”, “Good Vibrations”, “My Auburn Lady”) are lifted from past projects, but the songs selected all fit within the theme of romantic love, even though “Motor” is probably McCartney’s most spiritually aware moment on record. Slower and mid-tempo songs abound, a highlight being the duet between Phil and daughter, Olivia, “Where Are You Love”, which is a spare, haunting song of love, lost. Mansfield’s “Between Wyomings” is a nice, jaunty pop number, belying the influence of his former employers, while “I Want You, I Need You, I Love You” is a particularly ‘Fab’ take on the old Elvis chestnut. Making the

by Shawn McLaughlin

26 SEP/OCT 2012 CHRISTIANMUSICIAN.COM

Beatles thread even more explicit is “Where the Morning Dawns” a Phil original that starts as a lovely, McCartney-esque folk song before making a left turn into “Magical Mystery Tour” style psychedelia, replete with trumpets and a descending melody line eerily reminiscent of “I Am the Walrus”. Which is to say that The Cover of Love is typical Keaggy: Warm spirited, melodic as all get out, and of interest to any aficionados of terrific guitar work, though the master’s axe takes a back seat to his voice on this one.

Live at the RampBlues Counsel w/ Phil KeaggyIndependent.www.bluescounsel.comwww.eightydaysofhope.com

This labor of love was created to address the needs of the many people devastated by the tragic tornado outbreak that resulted in the destruction of property and loss of lives in Alabama on April 27th 2011, allowing the band to live up to the “counsel” portion of their name by encouraging people that healing from this devastation can be found in the person of Jesus Christ. Of course, the Blues component is also quite apparent as this crack band of Nashville area musicians proves that they are, at least equally, if not more dynamic and tight live than they are in the studio. This record just oozes the sound of people who love playing together and, as befits the name, trades in the ‘form’ more than the subject matter of the blues, providing an antidote for the daily vagaries of life that tend to plague humankind. The group members take turn on vocals, with Tony Hooper and Will MacFarlane taking the lion’s share. Hooper, in particular - perhaps because he is the least nationally known member - really impresses on this release with powerful blues wailing and fiery guitar work, while MacFarlane, as per a guy with his insane talent, is especially great on more traditional fare like “Worthy, So Worthy” and “Lay My Burden Down”. Hooper’s specialty is in line with that of wondrously talented percussionist, Emedin Rivera, as both shine while essaying blues-rock with a Latin kick. Of course, CMS pal, Rick Cua, regales with his inimitable ‘rocker’ vocals on the stadium ready, “Way Down Low”. Guitarist/vocalist, Tom Lane gets the ‘tearjearker’ moment of the evening with the sweetly melancholic rocker, “Brother Roby”, a tribute to fallen comrade in arms, Roby Duke. All members of this band are ferocious players, and that is even more evident when they back special guest “the delightful Phil Keaggy” on his classic rocker “Time.” Keaggy also does a solo set that is, typically, outrageous, but it takes nothing away from the blazing musicality and generous spirits of the ‘Brothers in arms’ that make up the wonderful Blues Counsel.

The StorytellerJon GibsonSoul Scan Recordswww.jongibson.com

Sometimes, when creating music, simplicity is best and, in a musical climate where soul, funk and R&B have been practically emasculated with samples, programming and automated percussion, Jon Gibson reminds us of the joy that a song, organically conceived and produced, can bring to a listener. Not to mention.....the dude sings the CRUD out of the material on this record. After an almost 10 year absence from the record shelves – In the interim, Gibson has focused on being a husband to wife, Lisa, a dad to his three boys, Jonathon, James and Jesse Earl, a worship leader in Irvine CA for the past 3 years as well as working on his current projest for the last 7 years

– he returns with a supremely confident, assured work.. Limited, early in his career, by what was perceived as too large an indebtedness to the voice of Stevie Wonder, Gibson has since developed his own, unique vocal style, still reminiscent of the Motown “Wunderkind”, but with a relaxed phrasing that gives his songs a distinct color all their own. The Storyteller is definitely of

a piece with Gibson’s mid 90’s masterwork, Body and Soul and shares in that work’s lyrical “matter of fact-ness.”, which, while not artistically ambitious, definitely has its charms and is wholly appropriate in the personal narrative Gibson essays here. Along with terrific vocals, Gibson also plays a large amount of the instrumental tracks on the album (another subtle nod to Wonder) including some sweet guitar work, yet still retains a refreshingly ‘live’ feel. While songs alternate between confessional story songs

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(title track, “Ghetto Hippie”, “So Let it Rain”) and more worship oriented material (“Sanctify Me”, “We Serve a Mighty God”) they retain a strong sense of continuity, all helping propel Gibson’s message forward, as he tends to champion the ragged and dispossessed while singing to them of the ONE who has set him free from his own shackles of sin and tyranny. The entire project is a delight.....there really is not a misplaced idea or out of place note....but make sure you hear the uplifting funk-rocker, “Ready, Gone” with its horn-laden arrangement and Gibson’s opening shout to “Hit me!” for an example of the joy that this artist creates and performs with. Gibson has ZERO problem communicating where that joy comes from on The Storyteller.

Cold Hard WantHouse of HeroesGotee Records

After the awesomeness of The End is Not the End and the stunning Suburba, a new House of Heroes disc almost seems anticlimactic...a sense that the band addresses directly with Cold Hard Want, an album that seems almost surly in comparison with its predecessors. The band has always been informed as much by classic rock as they have been by the modern pop-punk movement they are most often identified with. However,

the lightness of the latter is supplanted by a desperation and an urgency emblematic of the former that seems to imply that the band thinks their careers ride with this record. The disc certainly doesn’t suffer from a lack of tunefulness, but despite the presence of top-notch songcraft (“Dance (Blow it All Away)”, “Angels of the Night”, ”Comfort Trap” and the tear-inducing ballad, “The Cop”), the almost humorless tenor of the material virtually takes away one of the bands greatest gifts: The ability to induce a goofy grin. Cold Hard Want is, CERTAINLY, miles ahead of the competition when it comes to faith based modern rock...really, only Reliant K even comes close to these guys...but I just miss the fun of their past work.

Come To the RiverRhett Walker BandEssential

A band basing its ministry approach on the tried but true “Prodigal Son” back-story – Walker wandered quite a bit in his teen years only to return to the faith of his childhood in his early 20’s. The Rhett Walker Band fly their confederate musical flag high on Come to the River, their Essential records debut. With material ranging from Southern rock anthems to Dixie fried folk ballads, it is RWB’s adeptness at the latter that marks them as a band to watch. The majority of Come to the River

is, largely, ‘been there, heard that’ with almost 3/4ths of the material the type of blazing guitar/mid tempo/southern pop anthem that are Third Day’s stock in trade. Yet, when the band strips it down some – like the more recent offerings of Needtobreathe - and fully commits to the folk ethos of the southern musical experience (The lovely title cut, the country inflected “Brother” and the intimately sung, “Singing Stone”) they unleash a sonic direction they would be very wise to base their future projects on. That said, the band more than adequately plays a variety of rural genres with equal aplomb, and Walker has a voice for the ages . . .a strong, clear, but extremely emotional instrument that, alone, is

worth the price of the album. Come to the River is definitely not a bad first attempt, yet leaves the Rhett Walker Band plenty of room for further growth.

Shawn McLaughlin is a hard working dedicated, tireless worshipper of Christ

The Phoenix 6 String banjo has a beautiful organic tone that results in warm and well-rounded full notes. When ampliied, these characteristics are enhanced by a combination of brilliant highs via the piezo pickup and warm mid range from the Kavanjo®.

AAs well as a master volume control, players can dial in the tone even more with the addition of a blend control, the centre position of which is marked with a centre notch. This allows for a seemingly endless combination of Kavanjo® and piezo mix, bringing out the best from both pick ups and truly enhancing the natural sound of the banjo itself.

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The New Deering PhoenixAcoustic/Electric 6-String Banjo

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28 SEP/OCT 2012 CHRISTIANMUSICIAN.COM

NOVEMBER 9-10, 2012 : Overlake Christian Church, Redmond, WA

BRENTON BROWN &THE WORSHIP REPUBLIC

CROWDER

PAUL BALOCHE

www.ChristianMusicianSummit.com

ONE SONIC SOCIETYJason Ingram

Stu GPaul Mabury

ELEVATION WORSHIP

LINCOLNBREWSTER

PHIL KEAGGY

THE HYMNALSDwayne Larring

Jonathan ThatcherStephen PetreeArie Tidwell

JENNIE LEE RIDDLE

GREGG BISSONETTE

BENJI COWART

MICHAEL FARREN

JESUS MUSIC AGAINBob BennettBill Batstone

Alex MacDougall

ONE-DAY INTENSIVESon NOV. 8, 2012

for songwriters, singers, guitarists & audio techs2012 will feature our 9th

withJason Ingram

Brenton BrownJennie Lee Riddle

Michael FarrenBenji Cowart

Dwayne Larringand more...

CMS NORTHWEST 2012 10th ANNIVERSARY WILL FEATURE...• WorshipledbyPaulBalocheandBrentonBrown• KeynotemessagesbyBobKauflin&PastorMikeHowerton• PerformancesbyDavidCrowder,OneSonicSociety,PhilKeaggy,JesusMusicAgain,

LincolnBrewster,GreggBissonette,NormStockton,TheHymnals,ElevationWorship,JennieLeeRiddle,MichaelFarren,BenjiCowartandmore!

• ThePresentationofthe5thAnnual“RobyDukeCreativeLifeAward”• Lotsofnewworkshopsandclinicians

BOBKAUFLIN

NORM STOCKTON

AMANDA NOELLE

The Line 6 StageScape M20d does a fantastic job of addressing the challenges we face each week, and it does it all via a touch-sensitive user interface that can be mirrored on one or more iPads.

WORKFLOW

One of the biggest challenges we face on Sunday mornings is developing a streamlined workflow for sound check, monitor levels, and front of house mix. Workflow is an integral part of how this unit was designed, and is key to its effectiveness in a worship environment.

MODES

The five Mode Buttons allow you to toggle between the Setup, Tweak, Record, Monitor, and Perform views in the UI. With the exception of Record Mode, these buttons trace the exact production path you’d follow on a Sunday, making for a streamlined approach on an architectural level.

SETUP MODE

While the M20d helps configure smart workflow, it also offers an extreme amount of flexibility in approach. From within the Setup View you can use one of three approaches to configure a channel. While these channels have the traditional functionality associated

PRODUCT REVIEW

Line 6 StageScape M20d by Doug Doppler

with channel strips, the M20d makes a paradigm shift away from

this workflow via contextual menus,

which are more effective in a touch

screen environment.

Setup from Input Jacks The 12 combi-jacks, 4 balanced TRS

jacks, and Aux In audio sources are all auto-sensing and their status appears in

the Main Toolbar at the top of the Setup View. Once an input source is active it shows up as a basic icon on the seven-inch touchscreen, including input number. Selecting a basic icon triggers a contextual menu enabling you to name the input source and associate an input-specific icon. While there are icons for nearly every type of input source, in the background they load editable source-appropriate signal processing presets.

Setup from Icon Strip You can also create a setup by selecting any of the icons in the Icon Strip and dragging it to the desired location on the stage for a visual representation of the actual layout of the instruments on the platform. Once again, this automatically loads the appropriate channel type for the input source. It also associates an input source that is editable on the fly in case of a patching error. While you can easily do a physical re-patch via the top mounted input jacks, being able to reroute input sources internally is particularly valuable when leveraging the remote iPad functionality. While the free iPad app (you’ll need to purchase a Line 6-authorized WiFi USB stick) mirrors all functionality, it is also

screen independent, which means that two people can be working on setups simultaneously. Being able to re-route inputs from the platform will be a huge time saver on Sunday mornings.

Setup from Memory Selecting the Setups tab allows you to save, load, and edit Setups, ideal for teams with instrumentation that varies from week to week. Production-wise, this allows you to map and save individual “stations” into a Setup and recall them when that team is scheduled.

TWEAK MODE

Once you’ve selected an icon on the stage in Setup Mode, hitting the Tweak Mode button allows you to edit that channel. Selecting the Quick Tweak Tab from the Toolbar calls up a sleek touch and drag UI for a visually-driven approach to tweaking effects. The Deep Tweak Tab loads a traditional UI. What is wonderfully unique about the Deep Tweak UI is how it color maps functionality to the twelve Rotary Encoders, taking the guess work out of adjusting parameters.

MONITOR MODE

If you move directly from Tweak to Monitor then the same channel will be active, supporting a seamless workflow. Selecting the Mon (monitor) Tab in the Toolbar allows you to select which of the four monitor mixes you want to edit. Once you’re done you can select and edit the other Icons on the stage.

Effects You can assign any of the four global effects to each of the monitor sends. Adding some reverb to the BVs or choir can be a big help in establishing a better blend in the lead vocalist’s monitor.

Channel Link Defeat-able Link functionality enables both the FOH and monitor levels to be tethered together, making for faster, more intuitive monitor setups. Icon-driven sources like vocals are automatically Link-enabled, while electric guitars are not, noting that guitar players are most likely getting stage volume from their amps.

PERFORM MODE

Once again, the last Stage Icon you selected will be active when you enter Performance Mode.

Scenes Selecting the Scenes tab from the Toolbar enables you to save, recall, end edit scenes. In combination with Setups you can dramatically reduce setup time, reducing user error in the process.

Level Selecting the Level Tab pulls up a contextual menu from which you can adjust Level, Pan, Trim, and the four Global Effects.

RECORD MODE

Whether for rehearsal, service, or songwriting, the M20d also offers smart, easy to use recording integration, the most basic of

Continued on page 42.

30 SEP/OCT 2012 CHRISTIANMUSICIAN.COM

Chris Tom

lin and his 1999 Collings O

M42 SBSerious Guitars | www.CollingsGuitars.com | (1) -

Chris Tomlin and Collings Guitars

My name is Erick Hailstone and then this is the first of, hopefully, a regular column dedicated to keyboards, software, controllers, and helpful information on how to use them in the Church. I am a guitarist, keyboardist, and composer. I tour with “The Mike Phillips Band” playing guitar, and am also a clinician with Yamaha for Christian events. For years I made my living writing music for TV and film. For a number of years I programmed synths for a living. I have worked on synths by Yamaha, Akai, Peavey, Korg, EMU, Oberheim, Kawai Alesis, McDSP, and Kurtzweil; as well as numerous General MIDI sound sets in racks, boxes, software, and phones, and tons of sampling sessions.

My first synth was a Moog Micro Moog, a single oscillator synth with no memory. If you wanted to save a sound, you wrote all of the parameters down on paper so you could recreate it. I remember making blank paper replicas of the face of the synth so you could write all this info down. It was great way to learn about signal flow and how things work. My playing rig was a Hammond M3, a Wurlitzer A-200, or Fender Rhodes and the Micro Moog. I feel like I have lived through the history of modern synthesizers. My first polyphonic synth was a Sequential Circuits Profit 5. Just amazing! You could play chords (up to five notes) and change patches at the touch of a button (no more data sheets).

What I want to do with future articles is explore the different categories of instruments that we use and look at specific instruments from each of these categories. I will try to put out helpful, hands-on information for you to use. We might also look back at some of the classic synths that laid the foundation for what we have today. I will introduce you some of the top sound designers of modern keyboards, and we will learn from them. I hope to get feedback and ideas from you, the reader, to shape this column. Think of it as interactive. Think of it as your column.

Let’s start with an overview of the various products that are out there. I’ve put this together by looking at marketing materials

from Roland, Yamaha, & Korg.

Synthesizers/Workstation: Analog, Digital: Subtractive, Additive, Granular, FM Frequency Modulation, PD Phase Distortion

Stage Pianos: Wurlitzer A-200, Fender Rhodes

Organs: Hammond B3, Vox Continental Combo Organ, Reed based: accordion, melodica

Electro/Mechanical: Mellotron, Hohner Clavinet & Pianet, Wurlitzer A-200, Fender Rhodes

Samplers: Ensoniq Mirage, EMU Emulator, Native Instruments Kontakt 5, Motu Mach 5, Steinberg Halion

Arranger Keyboards: The Yamaha Tyros4, PSR 910; The Korg PA2XPRO, PA 800; Roland GQ-8, BK-5

Controllers: Typically the white and black keys of a piano used to play notes. Alternate controllers can be Pad based, Buttoned based.

Modules: any of the above minus the keys.

Now that we have our list, lets look back in time.

In the beginning there was the PIANO and it was good. It was also big and hard to move. The only thing that could be moved (portable) was an accordion. As we enter the 20th century we have electricity, which leads to electronic organs. The Hammond B3/C3 became the de facto standard. Although fairly heavy, compared to the piano it was portable. In the 1950’s two Electric Pianos, the Fender Rhodes and the Wurlitzer A-200 appeared. These instruments were primarily thought of as teaching tools and were not taken seriously by pianists until the late 1960’s and early 70’s. The Synthesizer shows up around this time as well, although at this point it was Modular, meaning: to create a sound you have to patch a bunch of components (Modules) together with patch cables. These synths are Analog. The type of synthesis is called “Subtractive”. The sound starts with a source; an analog Oscillater and is then

shaped by subtracting qualities using filters and ADSR envelopes. Although some artists performed with these, it was a small group, due to the expense and the complexity. It’s not until 1970 that the MiniMoog shows up. Now we have an instrument that is affordable and controllable. Synthesizers by MOOG and ARP are the standards. In the 70’s & 80’s we see bands with stacks of keyboards consisting of organs, electric pianos, synthesizers, and clavinets. Although they were inspired by acoustic instruments, these are all original voices. Again, in the 60’s an instrument shows up called the “Mellotron” which emulates REAL acoustic instruments. This is an electro/mechanical device using recordings of instruments (Strings, Flutes, & choir voices). They are recorded on analog audiotape that is played back from a tape head when you press the keys. The Mellotron is historically the beginning of the sampling revolution. As samplers and polyphonic synthesizers evolved, they started to merge with instruments like the “PPG” & “The Fairlight CMI”. Affordable Wavetable synths started to appear in the mid 80’s. These set the stage for almost all of the instruments we use today.

Please write in with your thoughts and requests. I will attempt to put up some tips and interviews up on YouTube and other video sources.

Contact me at erickhailstone@hotmail.com

KEYBOARDSby Erick Hailstone

Erick Hailstone attended the Berklee College of Music (Boston, MA), where he studied arranging, composition, and guitar. He has served as a Clinician for the Yamaha Corporation for guitars, synthesizers, and recording equipment. He has played professionally and taught for 20 years. Erick has done music composition, recording, and production for several major networks, including ABC, NBC, ESPN and CNN. Erick has written several books and articles on synthesizer programming and production. He has worked in music production at Crossroads Community Church, and has been Music Director at Rolling Hills Community Church. He teaches students of all levels on both acoustic and electric guitar.

32 SEP/OCT 2012 CHRISTIANMUSICIAN.COM

Call Us Today | (425) 422-5904 | www.focus-worship.com

“For me, there are two words that describe Focus, ‘Ministry Minded.’ That’s one of the rst things I noticed about this group. They have a true desire to help the Church... they really helped us get a great sound system in our sanctuary and they did so, working with our budget... ‘Thanks for all of your help and assistance throughout this entire journey.’”

-Keith Moorman | Worship Pastor @ Neighborhood Chapel

“We help Christian musicians and bands with all of their instrument and concert needs.”

Instruments | Sound Systems | Audio Equipment | LED Walls | LED Fixtures | ProjectorsVideo Equipment | Truss | Rigging | Conventional & Moving Lights | Lighting Equipment

As a singer/songwriter, one of the questions that you are always asked, right next to “What is your genre?” is “Who is your audience?” We can do some of our own ‘on the surface’ research and find the answers to the questions regarding their age, where they live, what they do for a living, where they went to school, and even their political stance. But I believe to truly know your audience; you need to find out what is in their pockets.

As a drama teacher, the first thing I would have an individual do after receiving the part of a character, was ask them to tell me what was in the pockets of their character. If they were playing a construction worker the answer would be: nails, a screwdriver, a pocketknife, some keys, a stick of gum, and possibly a receipt or two from Home Depot. Another actor who took on the role of a young mother states there is a rattle, a doctor’s appointment card, some Kleenex, a pacifier, and a half-eaten food bar in her pockets. This role-playing of finding what the character kept in their pockets helped to identify the essence of the character and to develop the story from the inside out. It truly allowed the individuals to step into the role with a foundation of knowledge by imagining how the character spent their day.

How does your audience spend their day? What are their needs? What are their dreams, their desires, their hurts, and the sacrifices they have made in their lives? What do they need to hear? How will your music affect them? As a singer/songwriter, it is vital that you know these answers. To truly be in tune with your audience you need to realize that it is extremely important to silently listen and pay attention to them. Devise a way to uncover their interests, motivations, and behaviors.

“Having a two-way relationship with your fans

really makes a difference, not just at the moment but along the journey. A connection with them and knowing the ‘more’ of them has been indispensable to me and my sisters.,” exclaims Julia Ross, Singer/Songwriter, Everlife.

One step to take in the discovery process would be to put together a questionnaire that your friends, fans, followers, and funders would answer. Begin a research study as a method to obtain this information. Start with a group of 100 people, and then sort and explore their answers.

With this vital information in hand, the strength of your music and songwriting will reach new realms. Communication moves mountains. Tailoring your music to the needs of your audience, even though still maintaining the heart of its creation, will allow you to sync it all together. Instead of the guessing game of who it will reach, you will have a complete view of who you touch because you took the time to put this all together.

From the music to the stage to the branding to the marketing, now you have a blueprint; one that you need not veer from. When a foundation is strong, it is easier to build upon it. The outcome and the building will be stronger, and last longer. When you crawl up a ladder and look around you, it is easier to see what the whole picture looks like instead of just glancing around from your left to your right.

Who is Your Audience?No Really???!?Who are They?by Keith Mohr & Sue Ross-Mohr

Here are 6 points on how to start knowing who your audience truly is.

1. Start a FOCUS group.

2. Ask questions. Utilize a service such as http://qualaroo.com/

3. Prepare a Prayer Grid and fill it up with 365 days of Prayer Warriors. Let them know what your needs are, and in exchange, pray for them. Ask them what they need prayer for.

4. Develop interactive capabilities into your website.

5. Support them! Follow them on Twitter; comment on their Facebook pages, etc. Have a ‘fan of the month’ page.

6. Blog, and give them credit/mention their names, their websites.

Your business/ministry and its growth are directly related to knowing your audience in a more intimate way. For you as a songwriter, following these steps will enlighten you in areas that you have never realized before. So here’s to connecting well!:)

Creatively His, Keith Mohr and Susan-Ross MohrINDIEMECHANICSwww.indiemechanics.com

Keith Mohr and Sue Ross-Mohr have years of experience serving independent Christian artists, musicians, and songwriters. Keith founded www.indieheaven.com in 2002, the leading portal for Christian independent music. Sue Ross-Mohr founded www.theinnervizion.com in 2003, a creative promotions /marketing/ consulting service to individuals and companies worldwide.

© 2012 OnBoard Research Corp. Photo: Will von Bolton.

wire less. rock more.TM

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34 SEP/OCT 2012 CHRISTIANMUSICIAN.COM

© 2012 OnBoard Research Corp. Photo: Will von Bolton.

wire less. rock more.TM

LEARN MORE AT

INTELLITOUCH-USA.COM

The incredible new

Intellitouch® FREEDOM ONE® is the first and

only Digital Wireless Guitar System that doubles

as a wireless pedal tuner. So there's a lot more

rocking and a lot less wiring. $149.95 Retail.

NOW THAT’S REAL FREEDOM.

The incredible new

Intellitouch® FREEDOM ONE® is the first and

only Digital Wireless Guitar System that doubles

as a wireless pedal tuner. So there's a lot more

rocking and a lot less wiring. $149.95 Retail.

NOW THAT’S REAL FREEDOM.

The incredible new

Intellitouch® FREEDOM ONE® is the first and

only Digital Wireless Guitar System that doubles

as a wireless pedal tuner. So there's a lot more

rocking and a lot less wiring. $149.95 Retail.

NOW THAT’S REAL FREEDOM.

Rich Severson, guitarist, clinician, author, band director, former GIT instructor. To preview Rich’s music and guitar educational products go to www.GuitarCollege.com and www.99CentGuitarLessons.com

Last edition I showed you a guitar fingerstyle jazz re-harmonization of this classic hymn. Written in tab and standard notation, it was my hope for guitar players interested in jazz to get the arrangement “in your hands” and have it memorized before we dive into the reasoning behind the new chords and progressions. All of the ideas in this arrangement have been explained in my previous CM articles.

If you worked on the arrangement in the last issue, I’m sure many of you experienced some new “grips” on the guitar. Again, my hope with this piece is to open your ears to some new sounds in harmony and get you playing some new chords. Also, playing a melody supported with chords underneath is probably a new experience, and I’m betting once you’ve done it, you’ll want more. I’ve had to eliminate the guitar tab this issue to make room for the analysis, so you might want to get it so you’ll have it on hand if you can’t read the music. If you would like to get an instructional video on playing this arrangement go to 99CentGuitarLessons.com, click on the” Christian” button, then “Fingerstyle Video Lessons”

I hope this gives you some new ideas in playing and arranging.

Till next time may God bless your hard work.

Analyzing a Jazz Re-Harmonization

36 SEP/OCT 2012 CHRISTIANMUSICIAN.COM

B-Band & B-Band logo are either registered trademarks or trademarks of B-Band Ltd in the United States and / or other countries. Patented, patents pending. List of patents are available from B-Band Ltd upon request. All specifications are subject to change without prior notice. All rights reserved. Copyright © 1996-2012 B-Band Ltd. www.b-band.com

B-Band, Inc.P.O. Box 342394Austin, Texas 78734, USATel: (512) 266 3820Fax: (512) 266 7203sales@b-bandusa.com

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There are so many acoustic guitars with onboard pickups and electronics. What should I look for in an acoustic/electric?

It can be very confusing to shop for an acoustic/electric these days. Onboard preamps are getting pretty fancy with all those bells and whistles: tuners, EQ’s,

microphone modeling, etc. The fact is that many of these onboard systems can be a little tricky to dial in and also have a fairly high rate of failure. For the unsure, I recommend purchasing a guitar for it’s acoustic properties first and plug-in-ability second. In other words: shop for the acoustic tone and add a pickup system later. In my opinion the more simple systems, like those from companies like L.R. Baggs and K&K tend to have the most natural sound when plugging in. If you want more tone control, consider adding an outboard preamp. They’re much more reliable and usually give you a built in D.I. as well.

My son is left-handed. Should I purchase him a left-handed guitar? I can’t seem to find many to choose from.

This is a touchy one. I have met people that, for some reason, are very sensitive about their left-handedness. However, I will not step lightly with my opinion on

the subject, as it relates to the guitar. I almost always try to discourage learning on a left-handed (LH) instrument, for the following reasons: There are only a tiny percentage of LH guitars on the market, as a whole, to choose from. This usually eliminates whole price groups from your selection, making it

almost impossible to make a well thought out decision. Secondly, you will rarely be able to play a friend’s guitar, or something you might have to borrow or play in a pinch. The outlook for future guitars you might want to purchase becomes even worse. As your tastes become more focused it becomes even more difficult to fill the needs with a LH version. Obviously, if there is a physical limitation of some kind that makes it impossible for someone to play a right-handed guitar, by all means go LH, but if at all possible stay away. After all: there are no left-handed pianos or saxophones!

What’s the most effective modification for new and reissue tube amps to get that sweet vintage sound?

There are many components to a vintage tube amp that make them very different than their modern counterparts. Many of the parts used on the old

tube amps are simply not available today. You can follow an original schematic, but that doesn’t insure the same outcome that it did 40 years ago. I find that one of the best sounding

Q

Joe Riggio is a professional guitar repairman/technician and recording engineer, based in Tacoma, WA. He owns and operates “Service Guitar Repair” and “House Of Sound Recording Studio” He has a deep love and knowledge of vintage guitars, as well as modern and loves to share his passion with others. He can be contacted at ServiceGuitarRepair@gmail.com, website: www.ServiceGuitarRepair.com

Ask Joe by Joe Riggio

Amods is also one of the least expensive and easiest to do yourself. Try replacing the first preamp tube in the circuit (called V1) with a genuine vintage long plate version of the same tube model. These can still be easily found in both New Old Stock and used versions. These will usually cost around the same as an hour of a repairman’s shop time and even a used one will generally last many times longer than any that are currently being manufactured.

QA Q

A

38 SEP/OCT 2012 CHRISTIANMUSICIAN.COM

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STAGE. YOUR REVOLUTION.

STAGESCAPE M20d20-Input Smart Mixing System for Live Sound

THE WORLD’S FIRST SMART MIXING SYSTEM FOR LIVE SOUND

StageScape™ M20d is the world’s first smart mixing system for live sound. Utilizing a groundbreaking touchscreen visual mixing environment, StageScape M20d streamlines the way you mix to get your sound dialed in quickly and keep you in the creative zone. The M20d features 20 inputs, massive DSP power on every channel, multi-channel recording with or without a computer, and remote control of the system via one or more iPad® devices. StageScape M20d is the integrated professional mixing system that lets you focus on what’s most important: your performance.

Touchscreen Visual MixingThe groundbreaking 7” color touchscreen mixing environment streamlines the way you use a mixer. Dial in the mix the way you see it, as musicians on a stage.

Remote Control via iPad®

Connect one or more iPad devices for full remote control over your mix. Set individual monitor mixes from the stage, tweak the FOH mix from the audience.

Multi-Channel RecordingStageScape M20d provides convenient multi-channel recording in high-resolution 24-bit WAV format to SD card, USB drive or direct to your computer.

L6 LINK ™ Digital NetworkingStageScape M20d and StageSource loudspeakers form an intelligent live sound ecosystem—which simplifies and accelerates setup.

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“EVERYTHING ABOUT THE M20d WAS BRILLIANTLY DESIGNED AND EXECUTED—ESPECIALLY FOR A HOUSE OF WORSHIP.”—DOUG DOPPLER, CHRISTIAN MUSICIAN

Re-encounter Your GuitarHave you ever been away from your guitar

for several weeks? Work, summer vacations, graduations, family trips, etc. . . and when you get back you realize you have a gig or church service to play the next day. I know I have, and I am sure a lot of you have too. Here are a few steps I take to get back in musical shape fast.

First, listen to music in your car or on your mp3 player. I try to listen to guitar music in the style I will be performing mixed with the material I will have to play for the gig. This helps to get you motivated and your ears back in tune. Second is the physical encounter with my instrument. I have put together a routine to get back some chops or technique that I may be lacking on from my absence away from playing the guitar. This “Re-encounter your guitar” can be done in less than an hour. There are 6 steps that you can spend 5 to 10 minutes each on that will help you to get

mentally and physical back in the groove.

Step1. Get familiar with your guitar again. Dust it off and tune it up, check the condition of your strings, and plug it in to check your output jack and move your volume and tone controls, if you have them, to make sure there is no dust in the controls that may produce unwanted noise. Most of the time just rotating the volume and tone knobs a few times will help clean them out. Next it’s time to get your fingers acclimated again to your guitar by running some familiar exercises. Steps 2 through 5 are exercises that will help your motor skills between your hands get back in sync. Step2 is a finger exercise that ascends up the neck and should be played on all strings starting on the low “E” string using all down strokes with your pick, move to the “A” string and continue up the neck but this time use all up strokes with your pick, repeat

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this picking pattern on the rest of the strings. Step3 is a standard finger exercise moving across the neck and back using “down up down up” picking. Step4 Chords- play several open chord shapes that you know with full strumming followed by a “Harmonized Chord Scale” using a variety of finger style patterns. Step5 is a combination of major bar chords followed by the major scale ascending up the neck. Step6 - rehearse some of the songs and go over parts you may need to get a better grasp on for your upcoming gig or service.

Following these steps in order will help get you back up and playing after a short time off. Several of these exercises will work well as warm ups before you have to play. Try to come up with your own set of steps and exercises. Use minor bar chords and scales, combine finger style picking etc. Remember, don’t neglect the gifts GOD has given you.

CHRISTIANMUSICIAN.COM SEP/OCT 2012 41

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which requires no connection to a computer or hard drive.

Quick Capture Once you’ve got the monitor and FOH mixes dialed in, Quick Capture allows you to record twenty second snapshots of any one or more instruments. This kind of virtual sound check is priceless for fine-tuning EQ on competing instruments like guitar and keys. It’s also great for shaping the how far you want the BVs to sit behind the lead vocals. The best part is that all of this can all be controlled from the platform via iPad, with no need for an external media source.

Recording What virtual sound check does for a mix, Recording will do for your rehearsal. You can record up to 18 channels of 24-bit uncompressed audio at 48k including aux inputs and main mix to an SD Card or USB drive. If you’re using Planning Center, you can post the mix file online and add performance and production comments.

Recording to Computer After installing the Line 6 M20d driver Pro Tools was immediately able to recognize the M20d as an audio interface. You can record up to 18 channels of 24-bit uncompressed audio at 48k as well as the main mix. The audio quality

was excellent on my test tracks. This opens up highly effective workflow for worship leaders or MDs looking for a robust way to document and share arrangements with their teams.

L6 LINK

Line 6 first introduced this proprietary data-networking format with the POD HD series. This allows you to digitally connect, configure, and feed audio and data to multiple StageSource speakers via a single daisy chain of AES/EBU XLR terminated cables.

As an end result these systems are easy to setup and configure.

KEY FEATURES

In addition to the Mode Buttons, twelve encoders, and top mounted i/o, there are

several other noteworthy features.

Feedback Suppression Each channel features per-channel multi-band feedback suppression.

Auto-sensing Mains and Monitors One of the key benefits of the UI is the ability to see which of the auto-sensing input and outputs are active. A Monitors Icon automatically appears on the Stage upon input, and small Speaker Icons fully illuminate when mains are connected.

Mute Mics The Mute Mics button is highly visible on the interface and is easily programmed within Perform View to cue any combination of mics and instruments.

Mute All There may be time you want total P.A. silence and this button will get you there fast.

Master Level Encoder If every device we used had a big giant volume knob, the world would be a better place. This is a great example of how the shift away from the channel strip paradigm is particularly effective.

While the M20d is the first StageScape mixer to hit the market, it is one of the best realized products I’ve come across. Everything about the M20d was brilliantly designed and executed—especially for a House of Worship.

(cont. from page 30)

4242 SEP/OCT 2012 CHRISTIANMUSICIAN.COM

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This month I’m happy to review the Hagstrom Tremar Swede. You may be unfamiliar with the Hagstrom brand, so here’s a little history.

Hagstrom is a Swedish Guitar manufacturer that started production in 1958. They were known for high quality and innovation, previously being an accordion manufacturer. They make a full line of Acoustic and Electric Guitars and Basses. Artists like David Bowie, Frank Zappa and even Elvis were seen playing them back in the day. After a period of silence, Hagstrom is now making a strong comeback and finding it’s way back into the USA market.

When the Tremar Swede showed up, I was impressed by how beautiful the instrument was. The big unique headstock, originally designed by Jimmy D’Aquisto and Hagstrom in the early 1970’s, sets the guitar apart visually and adds a little sustain. It has Pearloid inlay on the binding and logo. Pearloid inlay is also used on the fingerboard block position markers. Both neck and body have beautiful 5 piece multi-ply binding, cream with black

stripe, giving the guitar an expensive look. Tuning keys are 18:1 die cast metal with a very cool Art Deco design, and were also designed

by Jimmy D’Aquisto and Hagstrom. The Fretboard is made of a resonator wood composite to prevent dead spots and add sustain and upper harmonics to the tone. I did notice this guitar has incredible sustain.

The neck plays very fast, and is straight and stable. I was happy about this since some glue-on necks still move around a lot, messing with the intonation.

All models have a proprietary H-Expander truss rod inside the neck, preventing the necks from twisting and adding a unique attack to the tone of the instrument. This design is also a very efficient way of keeping the neck straight, and yet thin. The original Hagstrom had the reputation as the fastest playing guitar in the world.

The body and set neck are all solid mahogany. Mahogany is one of the great tone woods. It’s a little bit heavy, like a Les Paul and slightly bigger, but it’s all about tone and sustain. The complimentary pickups are custom designed Alnico 5 Custom 58 PAF Humbuckers. They have that really sweet signature PAF sound in the middle position, and the bridge pickup has

a ton of growl. Hagstrom has also gone the extra mile by employing a custom spaced, cut Graph Tech Nut to help intonation and tone. The Tremar Swede, “Tremolo Bar” has a clean retro design, and the red Hagstrom “H” Coat of Arms emblem at the bottom gives it a classic vintage look. It’s very smooth and has the feel of a Bigsby though the arm is longer and very retro looking.

The Tremar Swede uses a Roller Bridge that is height

adjustable, with individually adjustable saddles for i n t o n a t i o n . The Roller Bridge is great for keeping a tremolo in tune. I always lubricate the rollers, tremolo, and nut each time I change strings, which is at least once a week. Living in Houston, this has become a necessity because of the crazy humidity. Planet Waves makes a good product, or I find Hoppes 9 Gun oil in the Orange plastic bottle works great. http://www.hoppes.com/products/lubricating_oil.html

The guitar has four sleek looking chrome knobs, comprising standard individual pickup, volume, and tone pots. There are also two switches. The top switch is a 3-Way pickup selector and the bottom is a 3-Way Sound Filter Toggle switch (Hi-Mid Cut/ Center Bypass / Hi Cut). It’s similar to a Gretsch. I really find it useful, especially if I’m playing live with an Ebow or slide, and need to cut the high end quickly without having to grab knobs and twist them.

In conclusion, I’m impressed with the Swede. This guitar is really fun to play and sounds great live and in the studio. The guys in the Lakewood band and FOH thought it looked and sounded killer.

I wouldn’t think twice about showing up with it at a recording session. If you are in the market for a Les Paul vibe, with a little more personality and retro look, check out this guitar. This series of Hagstrom guitars have their manufacturing facility in China, which happens to be run by an American Luthier. The woods are all high quality, as are the pickups and hardware. The MSRP list price for this guitar is $1,299.00 and the street price is around $849.00. This is a great value, since a similar quality Gretsch or Gibson would be more than twice the price. This isn’t what you might usually think of as a Chinese made guitar. No offense meant of course! Not much on my wish list on this one. I would like to see a chambered version with some TV Jones pickups though. I think you will see these guitars come on strong, especially at these prices. For more information:

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(cont. from page 7)is where a guy walked up to me and said, “If I give you $600.00 and my old Gibson acoustic guitar would you trade me your CA composite guitar?” The CA guitar was worth around $1,200.00 back then, but I only had about $600.00 into it. I asked him how old of a Gibson acoustic did he have. He replied that it was a 1966 B-25. It was a really cool looking and bluesy sounding acoustic. I took it over to another booth there at the show to ask a good friend (who is well versed in vintage instruments) and he gave me the thumbs up on the trade.

I was pretty stoked to get the old Gibson and for such a good deal. Judy was pretty excited about it to and asked me, “Since this Gibson was born in 1966 and so was I, can this guitar be mine?” I could see it meant a lot to her, and since she didn’t really play guitar at the time I said, “Yes, as long as I get to play it”. We still have that guitar hanging on the wall in our home and I still get to play it.

Oddly enough, after going to that guitar show for 11 years – the Seatac Guitar Show, we were given the opportunity to be a majority owner of it. I produce the event and yes, we do still have a vendor table or two to try and sell our musical gear at the event. It is a really special gathering of the Northwest guitarist community and I am grateful for it in my life.

But, for the most part, for the last several

years Judy’s role kept her on the home front… but now that is about to change. We are empty nesters now and are glad to be planning the return of the Dynamic Duo of not only booth working at events but also having her beside me at our conferences, events, and in the home business office too!

We do like to interact with the people that read our magazines (like you) face to face when we can. I have to watch her sometimes as she is a generous person and likes to throw in some free things when people buy stuff from us (so if you ever come up to our booth somewhere at a music festival, one of our CMS conferences, or a vintage guitar show - please come and buy whatever you need off of me instead… Ha!).

In the next few months the Dynamic Duo husband and wife team will be at CMS Nashville and Seattle and then we make the trip to Winter NAMM in January. We are not a famous enough couple where you can blend our first names together like Brudy or Juce… but we will be there together, so come by and say “Hi”.

In His Grip…

Bruce & Judy

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JUL/AUG 2012Volume 17, Issue 4

Improving Musicianship | Inspiring Talent

74470 959620 5

0 7

Selective HearingMercyMe • Tenth Avenue North • The Welcome WagonMatthew Perryman Jones • The Choir

Tech Talk with Phil Keaggy • “I’d Do This for Free” by Bryan Duncan

Product ReviewSoundblox 2 Multiwave Distortion and Dimension Reverb

sixpence nonethe richer lost and found

Product ReviewEastwood Airline

Tuxedo GuitarProduct ReviewLine6 StageSource

Bryan Duncan... CCM artist for thirty years. With the Sweet Comfort Band, then solo and now with the Nehosoul band. Owner of Red Road Records and Host of Radio Rehab at  www.radiorehab.com inducted into the Christian music Hall of Fame in 2007.

Ever edit yourself based on what you think other people think you are? I can’t recall the author of one of my favorite quotes, but they said, “You wouldn’t worry so much about what people think of you if you realized how seldom they actually think of you”

I’ve gone around the block a few times in my tiny mindedness about “being” and “doing”, and the significance of these elements in defining ourselves. What I come away with is a tune with no words.. “do be do be do”.

I’ve spent most of my time writing music with a particular visual of whom I might be singing and playing to, and it’s worked well as my gigs were well defined as “church outreach concerts”. This is where the back of the stage has a different agenda from the front of the stage. Suddenly there you are in the middle trying to make two sides happy, but leaving yourself wondering how you feel about it all.

“Labeling” yourself with the moniker of “Christian” Musician has its upside, mind you. Call it marketing, if you like. It’s a free pass in some circles if you work it right.  But

sometimes it comes with a discount. Being typecast does not just happen to actors in the movies. I know of some great players I use in recording that have complained about being typecast as a three chord rocker to the point of never being asked to sit in on a jazz compilation.

In my forty years of music experience I know that labeling yourself as a “Christian” musician allows outsiders the opportunity to attach all kinds of atrocities, done in God’s name, to you! And you can find yourself defending and defining your life more by what you are not, than what you are. To “serious” musicians and writers, you might as well show up to the gig with a Casio, or a Peavy guitar, playing through the once laughable Bose speaker systems. You can’t even be heard over the definitions they’ve already created in their head.

What I fight most often, however, is the incestuous use of inbred terminology, familiar and safe to Christians. The Church world is filled with generalized and unimaginative reflections on what should be the greatest

relationship we could possibly have in this life: Knowing God personally outside the boundaries of an earthbound blindness. What I hear mostly, is the punch line to an inside joke. The way I see it, if it does not set you free, it is not the Truth!

Being successful is poorly defined most of the time. It’s based on how many people like your “do be do be do.” Of course, you can scratch off most of the prophets in the Old Testament and the Apostle Paul based on that description.

I think the worst inhibitor of our own potential comes from the very thing we’re going after... Success! It was my mother who

told me “better to be a failure at something you love than to be a success at something that doesn’t matter to you.” Success can become the path of least resistance once you’ve attained a portion of it. But it has boundaries and limitations that have been made up in other people’s heads too.

The truth is that stereotyping is a pitfall we all fall into. Everyday we pre-define what we think we see in those around us. Most of the time it’s a convenient way of filing away people on shelves in a pantry we never intend to revisit.

My point here is that “Christian” is my personal conviction. I follow Jesus because I don’t trust anyone else! But even that is based on some typecasting of the general population. God asks me to be obedient to his will. And there again I have a disposition and projection of what that should look like. It limits my own perspective of what God will do.

In my mind, we should never run out of new ways to “worship” God. We should never run out of new words and descriptions. But that will take more work than the cut and paste regurgitation of all things acceptable to “success”.

New technologies have changed everything in the way we interact with others. Twitter gives you 140 characters to say something significant. YouTube gives you a small window to do something spectacular. Facebook gives you the opportunity to file all your friends under a number to be quoted as significant. And all have a paragraph where you can define yourself in a few words.

So, what does that look like in your mind? Do you reflect the truth, or simply refract it? Are you a Human Being.. or a Human Doing? I think its both, it’s just a matter of what you sing first.. “Be.. do be do be do!

STEREOTYPINGby Bryan Duncan

46 SEP/OCT 2012 CHRISTIANMUSICIAN.COM

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