when eternity invades

Product
Review
Nord Electro 3

Pocket Full of Rocks

and a Heart Full of Songs

MAY/JUNE 2010
Volume 8, Issue 3
05

Record Reviews
0 74470 58440 7
North Point Live Matt Boswell * Marie Barnett Passion Meredith Andrews
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Songchart: Blessing and Honor Worship Without Walls
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 Editors Corner
MAY/JUNE 2010 volume 8, issue 3
The Far and Wide Issue
You will notice some changes with this new May/June issue of
Worship Musician magazine. We are in the first phase of our re- Features 51 Mandolin
By Martin Stillion
design process that will not only still include the printed version but
also a digital version of the magazine complete with links to our 8 Product Review Playing the Mandolin: Setup
columnists, featured artists covered, record review recipients and By Drew and David Konzelman Jobs
our advertisers websites.
Nord Electro 3 52 Lighting
In the near future our own website will start converting to mirror By Greg Sisley
the changes to the print version. The digital versions are there to 10 From the Drummers
serve you in passing along the good content our talented writers Perspective Theyre more like guidelines
and featured worship leaders bring to the table each issue. By Carl Albrecht than rules.
Little Things Mean a Lot - 54 A Few Moments With
If you would like the digital magazine feel free to go to our web-
site for the how tos. Its in the Details By Manuel Luz
12 Keyboard How Many Lead Singers
Even with the remarkable success of the iPad (over 500,000
units sold in the first month) and the fact that we are preparing iPad By Ed Kerr Does it Take to Change a
friendly versions of the magazines as well, we believe the printed Contrasts Light Bulb?
magazine still has a lot of potential and purpose for our readers
and we are whole heartedly committed to it. In fact we are in
15 Bass
discussion at this moment with Hal Leonard Publishing to distribute
the printed magazines to retail music stores across the country By Gary Lunn Interviews
how cool is that? Crossing the Threshold
Into Soloing
Having both versions available should only open up more op-
portunity for us to be able to reach more congregations with help 16 Vocals
for their entire worship teams.
By Sheri Gould
I wont be shy about this I do like the iPad and I think it has a lot Tone Quality, Resonance
to offer folks. I heard one newscaster on television comment on how and Style-Part 2
he believes the iPad is a great tool for consuming content but not for
developing it. That got me thinking. As a magazine (and as a con- 18 Tips for Tight Teams
ference producer for that matter) we are developers/manufacturers
of good content. It is our goal to keep cultivating and producing By Sandy Hoffman
useful and practical content... issue after issue conference after Worship Without Walls
conference. That is what we are called to do to help you in your (Praising God In Public
own pursuit of excellence in musicianship and ministry. Places)
This reminds me of that scripture that speaks of holding onto one 30 Record Reviews
thing with one hand and reaching out to take hold of another with
your other hand So lets do that with this new issue both the By Heidi Todd
printed and the digi- Marie Barnett
tal versions pass Matt Boswell
them along and let Meredith Andrews
them roam far and
wide reaching as
North Point Live
many as possible Passion 20 Vicky Beeching:
for His glory. When Eternity Invades
33 Guest Room
Lord Bless Ya! By Justin Fox
Bruce & Judy Gods Favorite Kind of Worship

34 Foh Engineer
By John Mills
Compression 201

36 Creating Your Map

By Scott A. Shuford
Ministry + Artistry =
4227 S. Meridian. Suite C PMB #275 Profitability? MAP
Puyallup, Washington 98373-5963
Phone: 253.445.1973 Fax: 253.770.0659
Email: bruce@christianmusician.com 38 Authentic Worship
Website: www.worshipmusicianmagazine.com By Michael Gonzales
Publisher/Editor: Bruce Adolph Worship Dangerously
Vice President: Judy Adolph
Customer Service: Brian Felix 40 Guitar
brian@christianmusiciansummit.com
Design: Matt Kees Proof: Toddie Downs
By Doug Doppler
Production: Scot Herring / J&D Printing Sound Advice
Advertising Sales: Bruce Adolph
bruce@christianmusician.com 253-445-1973 42 The Band 46 Pocket Full Of Rocks
Worship Musician! is published bi-monthly By Tom Lane and a Heart Full of Songs
by The Adolph Agency, Inc. What About The Yoots!

WORSHIPMUSICIANMAGAZINE.COM MAY/JUNE 2010 7

 Product Review
By Drew and David Konzelman
Nord Electro 3
If you have ever wondered the origin of
the flashy red keyboards gracing stages
across the globe you are not alone. It took
me a few months before I happened upon
my first Nord experience, and since then
my life and music have not been the same.
Having toured with the Electro 2 for the past
two years, my brother David and I were ex-
cited to get our hands and ears on the new
Electro 3 at this years NAMM show. In the
first five minutes we were blown away at
the improvements over the Electro 2. They
seemed to have satisfied the desires that the
Electro 2 lacked and wrapped the added
features into a lighter version of the same
size unit.
The Nord Electro 3 is latest release in
the highly acclaimed family of Nord key-
boards. At first glance, only a redesign of
the controls is evident, but the Electro 3 has
seen a vast internal redesign and is satisfy-
ing the craving of the most demanding au-
diophiles. These new features, along with
the stage-friendly design carried over from
the Electro 2 results in an instrument with lim-
itless potential and ultimate practicality for
the touring or church musician.
8 MAY/JUNE 2010 WORSHIPMUSICIANMAGAZINE.COM
Best of the New
The most exciting addition to the
Electro 3 is the vast improvement in piano
sounds. The 3s new piano library includes
close-micd Yamaha and Steinway sounds.
The Electro 3s internal storage is eight times
that of its earlier counterpart. Though some
reviewers have wished for a few more in-
struments to be added, perhaps a Wurlitzer
140B, a Clavinet E7 or a Hohner Pianet,
the new storage does lend itself to more
user defined banks of sheer sonic bliss. The
earlier piano sounds of the Electro 2 were
so poor that we had to tour with a Yamaha
modulator, which allows the user to create
Motif 8 which we used exclusively for its
great piano sounds. If you have ever lifted
a Mo8 in a flight case, you begin to rethink
the touring lifestyle altogether. The piano
sounds that come in the Electro 3 are a vast
improvement and can also be swapped out
for any of the other larger sounds available
for free on the Nord website.
Brand
new on the
Electro 3 is a
selection of high
quality effects that in-
clude reverb with five algo-
rithms including Room, Stage
Soft, Stage, Hall and Hall Soft. In addi-
tion to these there is trem, panning, wah,
phaser, flanger, a chorus effect and a ring
ethereal sweeping sounds with tone-driven
feedback. The second to last place to tweak
tones is in the three new amp/speaker simu-
lators, allowing the perfect amount of grit to
be added to the tone. The final frontier of
sound for the Electro 3 is a three-band EQ
with sweepable mid-range and a compres-
sor that can be added before the tailored
sounds are broadcast out of the hot red
chassis of the new Electro 3.
For any musicians who travel, this key-
board will fit just about anywhere except
the under the seat in front of you. The elec-
tro 3 comes in two sizes: a 61 key version
($1,899) and a 73 key version ($2,199).
But dont let the price scare you, because
like most things that are good, it hasnt
come without cost. Nord has lent their ear
to the demanding players who toured with
the Electro 2 and have answered the call to
provide all the improvements are more- all
wrapped into one fire-red box of beauty. If
you are purchasing a keyboard for church
or touring use anytime soon, do yourself a
favor and consider the Nord Electro 3.
Drew and David are members of the
Konzelman Brothers and The Acclaim. They
have lead worship and performed original
music in the Pacific Northwest and around
the world for the last 8 years. Read more
about the rest of the brothers at www.kon-
zelmans.com.
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 From the Drummers Perspective
By Carl Albrecht
Little Things Mean a Lot -
Its in the Details
I remember reading about Steve Gadd
(Search for him on the web if you dont
know who he is.) being asked the question,
What one thing makes a drummer great?
The writer was looking for a simple magic
formula to a very complex skill. Steves an-
swer was simple yet profound. He said, Its
ALL of it. All of the training, practice, experi-
ence, etc. make a musician who they are.
There is no one thing. Bravo, Steve!
Im no Steve Gadd, but I also hear this
question from drummers quite a bit. I also
wish there was an easy answer. But there
isnt. Whats probably more challenging
for the worship drummer is that theres the
whole spiritual/ministry aspect to what we
do. Besides having the right gear for the
job, being skilled, prepared, and prac-
ticed up we have to be spiritually in tune to
do well playing for worship.
As they say
Its in the details. Often this phrase is
used in reference to success, but lets look at
how that applies to being a worship drum-
mer. Ive written in many articles about all of
the technical things needed to increase your
skill as a musician. When I was recently on
tour with Paul Baloche and Jared Anderson
I was reminded of why I do them. Heres a
random list of drummer moments.
Arrive earlier than everyone else.
This isnt always my fault, but be-
cause of travel schedules there were
several times the whole group arrived to
the venue at the same time.
Because I use rental drums
on the road it usually takes
me 30 minutes to an hour more
than everyone else to be ready for
sound check. Note: even on a
regular gig be early.
Review new material.
Jared Anderson was
an extra addition to this
tour. I have played with
him before, but be-
cause he had given
us newly released
songs we had not
played before,
I spent extra
time prep-
ping his
songs. I
keep a
10 MAY/JUNE 2010 WORSHIPMUSICIANMAGAZINE.COM
pack of charts from every artist I have ever
worked with and bring them with me for any
artist on a tour. Even though his song list did
not contain all the songs, I was ready when
he called up a few older tunes later in the
tour.
Keep your spare parts up to date.
I ran short on cymbal washers & plastic
cymbal stand sleeves this tour because I did
not restock my supply. I had to use duct tape
a couple of times because I didnt have the
parts. At least I had duct tape. Also this re-
minded me of why I always ask for 2 snares
for a job, and why I always carry my kick
drum pedal. Also, any cables, batteries,
sticks, drum parts, etc. you need YOU
should keep in stock.
Play with your band as much as possible.
This isnt something Ive talked about a
lot, but it is so important. Your band should
play together as much as you can. Besides
services, gigs, etc. etc. Practice once a
week or more. Paul Baloche and I were
chatting about the problem of church bands
not learning how to jell as a team. I know
were all busy, but if you want to get better
you have to work at it. Make the time to
do it.
The little musical details are BIG.
Know the nuances of every song you
play. Flow with the dynamics of the band.
Dig in a little more when needed, and back
off when there needs to be flexibility and
space. Make sure the kick patterns are right.
Do you play the hi-hat or ride cymbal for that
section? How do you hit the snare? rim
shot? Or in the center only.
As we toured I became more aware of
the little things.Because of the tone &
loudness of my left crash cymbal I had to
move it over to the right, behind the ride
cymbal so it wouldnt project into vocal
mikes as much. Slight adjustments of tuning
and muffling would change the feel of the
drums. According to the songs I would ad-
just snare tuning and wire tension to change
the feel of the backbeats. And so it went
It seems this whole tour was a reminder of
how important the little details are.
As a worship drummer/musician I also
noticed that keeping my heart engaged is
just as important as the technical things.
Keep your prayer life active.
Sometimes you just get too busy. Life can
be so overwhelming that we dont keep en-
gaging in conversations with the Lord. Espe-
cially when Im touring keeping my prayer
life active is very challenging. Whether Im
alone or with the team I try to make a place
for prayer. Those hectic moments before a
service or concert are critical times to try to
settle your thoughts into ministry mode. Even
if you just have a few minutes get together
with the team to pray.
Stay in the Word.
Simple, but true we need to feed on
the word of God. I can get so distracted
with the news, books, and magazines that
Ill miss out on the most life giving words.
Ill even carry my bible on stage where my
drums are and read it when theres a break.
Sometimes Ill even make it a point to leave
it open to a scripture Ive been reading and
lay it on the floor by the drums or even on
my music stand.
Keep your spiritual sensitivity on high.
Being aware of the spiritual environment
of the team and of the place your working
in is also important. Its not that Im running
around looking for ghost, but there is a spiri-
tual realm that surrounds us. Just like the first
apostles would go into a place and speak
a blessing I often do the same thing. I also
keep and spiritual eye on the team to see if
there is something the Lord would have me
pray about. You dont have to talk about ev-
erything youre sensing to be an intercessor
on the job. Let the Holy Spirit be your guide.
Thats why the Lord sent us His Spirit.
During worship be a worshipper.
This sounds like the obvious approach to
being a worship musician. But so often we
can get caught up in the gig mentality that
we miss the most wonderful part of playing
this music. Being in the presence of the Lord.
God still inhabits the praises of His people.
I try to always remind myself that Im com-
ing to meet with Him when I play, and that
Im taking everyone on the journey with me.
All musicians should remember that they are
worship leaders too.
These are just a few reminders of the little
things that have become BIG to me once
again. I know some thoughts here are re-
peats of things Ive said, but because they
struck me so profoundly in the last week I
felt it was time to get us all thinking about
it again.
Blessings on your journey,
Carl
Carl Albrecht has been a
professional drummer & per-
cussionist for over 25 years.
He has played on over 70
Integrity Music projects; Ma-
ranatha Praise Band recordings & numerous
other Christian, Pop, Country, Jazz & com-
mercial projects. He currently lives in Nash-
ville doing recording sessions, producing,
writing and continuing to do various tours
& seminar events. Visit his website: www.
carlalbrecht.com or send an e-mail to: lmal-
brecht@aol.com.
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 Keyboard
By Ed Kerr
Contrasts
As I write this Im reflecting on how pow-
erful our Easter gatherings were yesterday
at Newlife church where Im worship pastor.
We joined millions of believers around the
world celebrating the resurrection of Jesus
from the dead. What an amazing God He
is, and what an amazing privilege it is to be
involved in music that reminds people of His
power and love.
Several things about our Easter gather-
ings were unique. During one of our songs
we showed video of baptisms that had tak-
en place the day before. After the
m e s -
sage, an artist painted a huge picture on
plexiglass illustrating our final song. As a
portable church, on Easter we set up in a
school gym rather than the schools audi-
torium so that wed be able to accommo-
date the crowds we expected. The crowds
came. We rented lots of lights and a sound
system that rocked.
All of these elements seemed to drive
home the reality of what Easter means in a
really intense way. It was sobering, energiz-
ing and humbling to consider what Jesus did
to open the door for us to know His Father.
Every lyric we sang seemed to resonate with
extra richness.
The worship team did some things musi-
cally that added to the impact of the lyrics.
They created great dynamics within the
songs, making some verses quiet, intimate,
subdued while some choruses were huge,
loud, triumphant.
As you consider how your worship time
went musically on Easter or any other time,
think about the dynamics that were in-
volved. Was your presentation fairly static,
with the team playing at a similar dynamic
level throughout, or were there some of the
contrasts I described above, soft verses,
loud choruses, etc?
If your worship team is like mine, you have
an acoustic guitar, an electric guitar, bass,
12 MAY/JUNE 2010 WORSHIPMUSICIANMAGAZINE.COM
drums, and keys. And a vocalist or two. Or
five. Of course there are many variations of
this basic team, but your team is probably
something similar to this. Regardless of your
instrumental configuration, though, you can
create musical contrasts within your songs.
Each member of the worship band helps
make these moments happen, but I want
to focus on a few things that we as key-
board players can do to contribute
to them.
One
of the sim-
plest ways to give a section
musical definition is to let the instru-
mentation be unique from the section thats
gone before it. If your full band plays on the
intro, for example, have most of the instru-
ments drop out for the verse that follows it.
This is a really effective way to make the
first lyric thats sung prominent. When that
drop out happens and most instruments go
away, you can be one of the ones that goes
away. Uh huh. Dont play. I know, I find it
challenging, too, but it really works. By tak-
ing away instruments on a given section, the
return of those instruments later can make
the next section a nice payoff, both lyrically
and musically.
One of the things my band did so well on
Easter was to crescendo into a section and
then suddenly drop down to almost nothing
when the next section began. We did this
in Brooke Frasers Desert Song. When the
first chorus comes around, we do what the
Hillsong recording did, most of the bands
groove going away, playing the chord
changes softly. Then when the intro theme
comes back, the bands in full again. Great
energy at that moment.
Later, when the bridge happens, we sing
it four times. First time the band is quiet, and
they build and build and build through the
last repetition of the lyric. What a great mo-
ment, the crowd singing All of my life, in
every season, You are still God; I have a
reason to sing; I have a reason to worship.
As the band crescendos strongly out of the
section, the listener might expect a big cho-
rus to follow. But, we break down the in-
strumentation again, and suddenly the lyric
I will bring praise is exposed completely.
Powerful.
I can feel the momentum as I describe the
arrangement. Listen to the recording of Des-
ert Song from This Is Our God. Imitate
that arrangement in your team and I know
the band members and singers will feel it,
too. Oh yeah, and the congregation.
Among the many other things you as a
keyboard player can do to bring con-
trasts to the sections of your songs
is to use different sounds for the
sections. I play a Yamaha motif
XS8 in our services, and have
set up a performance that lets
me choose from four different
sounds whenever I like. Its great
for moments like the chorus I described
above after the bridge of Desert Song. Im
playing a grand piano sound at the end of
the bridge. Then, when the band drops out
for the chorus, I bring the fader up on my
pad sound and fade out the piano. Sud-
denly theres that lush, string-like texture of
the pad, along with the sparse activity the
acoustic guitarist is playing, and the section
has a character unlike anything thats been
heard in the song. The crowd easily hears
their neighbor singing out the lyric and we
build into one last chorus, the band playing
full volume.
Ive given a fairly exhaustive description
of this musical roadmap that we followed
so that our presentation of Desert Song
would have nice contrasts between the sec-
tions. I doubt that anyone in the congrega-
tion on Easter would offer a comment af-
terward of Man, the worship was strong
today; I loved how you showcased the lyric
by carefully crafting your instrumentation
and volume levels. Okay, Im sure no one
said that. But Im also sure they felt some-
thing because of what we did in the band.
Next time youre rehearsing, think about
the dynamics youre using and the contrasts
youre creating. Each player and singer
plays a crucial part in this. Are there rises
and falls of energy, volume, and instrumen-
tation? Peaks and valleys musically? Work
some of these into your worship songs, and
the payoff will be great.
As a songwriter Ed has
written over 100 songs with
Integrity Music. He has a
Masters Degree in piano per-
formance. Ed and his family
live in Washington State. Ed plays a Yama-
has Motif XS8. www.kerrtunes.com
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By Gary Lunn
Crossing the Threshold Into Soloing
A friend recently asked me, What do
you think about while you are soloing? I
thought, Wow! Great question! I had to
really think about that one before I wrote
him back because so much of my journey
through writing articles and the occasional
teaching opportunities has been spent just
trying to figure out why I play the style that I
do not what goes through my mind or how
I execute a solo. Plus, I dont get asked to
do solos too often, so, I really havent had
that much experience doing them. And hon-
estly, I am totally fine not doing them! Back
when I was with Whiteheart (an 80s Chris-
tian rock band) I played a drum-and-bass
solo every concert, but since then, my solo
opps have been few and far between.
There have been a few at worship confer-
ences, as well as some live events around
Nashville, and there are those opportunities
where I just cant say no. With that said,
since I am a little tentative in that depart-
ment, I figured that maybe there are a few
of you who might feel the same inadequa-
cy. So, let me share a few different ways
that I occasionally stumble through them.
Rules
Any set of rules for soloing always run
out and they will wear thin if you use the
same ones too much. But, in worship, the
main objective to strive for while soloing is
to connect some musical ideas together that
will lift up the Lord and usher in His pres-
ence. So, first and foremost, think about the
cross when you solo, and its importance to
your salvation. If you do this, I can assure
you that it will have a huge effect on the
way that you play a solo.
From a musical standpoint I think that its
very important that you try to develop some
ideas beforehand, as well as the ability to
chain them together. The only way to do
that is through lots of playing and review-
ing of scales. All the various things I have
talked about in the last several months will
definitely help you with soloing from un-
derstanding triads to memorizing the note
names on the bass. If you know where you
are going, what you are playing, and why
you are playing it - before you play it - then
you will succeed at soloing.
Tricks to Try
There are several rules of thumb (so to
speak). Many of them are related to particu-
lar styles, such as blues clich riffs, or slap
patterns, for instance---and considering what
kind of music youre trying to solo over, you
can borrow licks from several different stylis-
tic lick banks. Then as you think in scales,
you simply make the licks that you want to
play work in the key that the song is in. In
fact, sometimes there are circumstances
in which a single scale works well over a
Bass
whole chord progression, thus enabling you ent notes play at different volume (dynamic)
to play the same style licks over the entire levels. The combinations are endless.
chord progression without having to change
the key of the licks. But Seriously
These are all things to do when building
Another trick is to try arpeggiating through a solo, but you have to practice a lot! I
chords. Experiment with the order of notes. must emphasize that all of these suggestions
For example, in a dominant 7th chord, in- are just that; mere suggestions. But I offer
stead of playing 1-3-5-b7-8 over and over, them to you, as some things to try, as you
try playing 1-5-3-b7-1-8-b7-5. You have just attempt to build your own musical ideas. Just
created a short, thematic lick. Then, move be careful to not work too hard on under-
it up 1/2 tone and play it again. Up a standing specific
1/2 and again, so on and so on. Wow! It techniques,
sounds like you know what you are doing!
The truth is, you may not know everything,
but you DO know something useful.
The thing that makes that
little riff sound cool is tritone
between the b7th and the
3rd, so even if you only
played that riff from the
root (e.g., Bb) and then
play it starting on E, youve
created an eerie sort of chord
substitution. Chord substitutions
are something that I know very little
about, but Im sure there are plenty of
guys that you could ask about that
as you get deeper into this. Or,
you can just experiment as you
practice.
Another little trick I use is
that I try not to leave holes in
a solo by striving to play the
root or the fifth (of the present
chord) on the downbeat every
2 or 4 bars. I feel a certain re-
sponsibility, even in a solo, to hold
down the harmonic bottom end. Thirds
work okay too, but theyre a little less
harmonically obvious and not quite as
secure feeling.
and then wind up
Try playing as if the chords were in the looking like you are
relative minor (3 1/2 steps down from the playing a solo right out
root). Youll end up playing mostly the same of a textbook. Its important
scales, but thinking about different chords to explore different ways to
can sometimes cause you to phrase things apply certain rules, but occa-
differently. sionally you will find yourself
where you just need to throw
Learn to play the melody of the song, and forethought to the winds and
then develop ideas from that. Try to quote playplay unto Him.
it somewhere in the solo; quote it at half-
speed, double-speed, or start it from an odd
place in the measure. Gary is a session player/
producer/writer in Nashville,
Try different rhythmic note values without currently playing for Lindell
giving yourself a break for as long as you Cooley, Music for Missions In-
can stand it. For instance, try playing only ternational, and many record-
1/4 notes or 1/8 notes, experimenting ing session accounts. He attends Grace
with wide jumps from different parts of the Church in Franklin, TN. www.myspace.
scale - even between different octaves. Then com/lunnbass , www.facebook.com/
try making a conscious effort to make differ- garylunn, www.gracechurchnashville.org
WORSHIPMUSICIANMAGAZINE.COM MAY/JUNE 2010 15
 Vocals
By Sheri Gould
Tone Quality, Resonance and Style-Part 2
Last time I discussed various points of res-
onance and how to pinpoint a few. (If you
missed part one, or any other back article,
please feel free to e-mail me --my e-mail ad-
dress is at the end of this column--and Ill
be happy to send you any archived articles
that might be of interest to you.) In this article
well continue the discussion of resonance
and tone quality as it relates to style.
Head Voice/Chest VoiceEXPOSED!
I would like to help shed some light on
what I believe is a pretty serious misunder-
standing with regard to singing. What Im
about to say will likely fly in the face of
most current, contemporary singing advice
youve heard heretofore. I believe the cur-
rent use of the phrases Head Voice and
Chest Voice exists primarily because of a
misunderstanding of many things.
In years past when singers were primarily
trained classically, they were taught about
resonance and tone placement. Through
classical teaching methods, students were
taught where and how to place their reso-
nance. As they moved through various parts
of their range, they might become aware of
the resonance reverberating more or less in
specific areas. For example, as they moved
into lower areas of the range, they might
feel vibrations and resonance all the way
into the chest. Therefore the term CHEST
REGISTER developed. This was a nota-
tion that a large portion of the vibrations of
sounds were being directed to the chest cav-
ity as a place to resound. Similarly, as notes
got higher in pitch, a student might direct
those vibrations higher into the head area,
thus the term HEAD REGISTER developed.
As people moved further away from study-
ing voice in any kind of classical way and
moved toward the NON trained
voice of a contemporary or folk
singer, a whole different
connotation began
to arise. Without
proper training,
control of the
voice is lack-
ing. Because
16 MAY/JUNE 2010 WORSHIPMUSICIANMAGAZINE.COM
the vocal cords are primarily made up of
muscle, if the cords are not prepared,
strengthened and trained properly there will
be weakness in certain areas. As the weak-
nesses in the vocal cord structure remain but
yet are stretched to capacity many different
configurations of the vocal cords may en-
suenot all of which are desirable.
One of the common things that happen
is that many singers lose control as they get
higher in their range and therefore the vocal
cords come apart and the singer ends up
vibrating the cords together only partially.
This naturally causes a thinner tone because
there are less of the vocal cords being
used. Additionally, the space created now
between the cords allows for more air to
escape causing the tone to be lighter and
airier. Some singers actually perfect this
transition from the full cord adduction to a
partial cord adduction and create almost a
pop causing the break to sound very dis-
tinct. In olden times (and other cultures) this
technique is referred to as yodeling. Now
some pop singers strive for this anomaly!
This break in the voice is a nuisance
to most singers and can be rectified with
proper training. However, this process
has become associated with the idea and
subsequent misunderstanding of a head
VOICE. Once a singer allows the cords to
pop open, extra air flows and the tone can
only register up in the head because the lar-
ynx is so high in the throat. Therefore
people have dubbed this
now a head VOICE,
and anything below
the breaking area
a Chest VOICE.
There are not, nor
should there ever be
two distinct voices
in a sing-
er. Many
places to
resonate
perhaps,
but not differ-
ently produced
voices that are
so very differ-
ent in sound,
strength and
construction.
Having said
this, I recognize that
many contemporary
singers have indeed capi-
talized on this untrained
sound and incorporated
it into their style. If
this is something
that you LIKE
and want to do then that is fine. Many
people however default to this style due to
lack of training and it is an unwanted part
of their repertoire. With incorrect informa-
tion, many have been led to believe that
they are stuck with these two voices and just
have to work with them. This is sad and such
a shame. Developing a style is one thing;
feeling trapped is another.
I am frequently asked if the break is
harmful for the vocal cords. The answer is
no, not in the sense that it hurts the vocal
cords by causing undo stress. However, the
loss is in the training of the muscles to break.
Muscle memory is a powerful thing and
once they are trained to consistently break
at a certain point, it is difficult to UN-train
them. This makes the job of learning to sing
properly with a full voice and resonance
wherever you choosea near impossibil-
ity. So I dont recommend developing that
aspect of style, but I understand that it is
popular and many, especially young girls
and women, will be drawn to the style and
sound that goes with it. Men generally do
not experience the full popping and break-
ing of the cords mid range because they are
aware of their falsetto and recognize that
at THAT point the opening of the cords is
necessary to hit the extra tones.
Think PRETTY
So much of what we hear today is really
not much more than a lot of vocal gymnas-
tics. The singer seems to be trying to see
how many notes they can hit in one word!
A lot of attention is given to a belt voice try-
ing to yell higher and higher on stretched,
fully adducted cords. But what I dont see
a lot of attention given to is a pretty tone
quality. Many of the tone qualities that we
hear in contemporary music are very nasal.
This nasality allows for a better maneuver-
ing around the keyboard. A pretty tone al-
lows for greater enjoyment by your listening
audience. So although its always great to
pursue a certain amount of vocal gymnas-
ticsId like to consider myself a proper
vocal athlete (trilling about with the best of
them). Id also like to think that I can create a
tone that reaches into your heart and soul as
well. I think we would do well as singers to
venture into the area of resonance and tone
quality more. The result could be very
BEAUTIFUL!
Sheri Gould has a BS in
Music Education (Vocal/
Choral) from the University
of Illinois. A church music
director (Choir/Worship
Leader) since 1985, she also teaches vo-
cal techniques at various workshops around
the country. Send your questions to: sheri-
gould1@aol.com
 Tips for Tight Teams
By Sandy Hoffman
Worship Without Walls
(Praising God In Public Places)
In the late summer of 1992, I met Karen
Lafferty (composer of the Christian classic,
Seek Ye First). We were both scheduled
to teach for one month in Jimmy and Carol
Owens School of Music in Missions. As-
sembled in Budapest, Hungary were fifty-
two students from all over Europe, eastern
Europe, Canada, the U.S. and beyond.
Each anxiously awaited the instruction and
ultimate release into ministry that was wait-
ing for them just around the corner. What
an exciting time! The war between the Ser-
bians and the Croatians continued, and
we were not much more than
one-hundred
miles
from
the
bor-
d e r.
One of
our staff kept
going home to Ser-
bia on the weekends to check on the safety
of family and friends. It was a bit intense
for me!
The Plan
Just when I thought things couldnt get
more exciting (or stressful, as the case may
have been), I was introduced to a whole
new concept: worship evangelism. Karen
showed up at worship time one morning
with what seemed to me to be a hair raising
plan. With no prior announcement or pro-
motion (or legal permission), wed just show
up and minister at Nyugati palyaudvar,
(yea, we had that same trouble pronounc-
ing it). Nyu-ga-ti pal-yaud-var is a major
intersection and train station on the Pest
(east) side of the Danube River (which, btw,
is brown, not blue). The plan was to haul a
complete sound system with its own genera-
tor, musical instruments and all our students
and faculty to this busy crossroads of Buda-
pest. We were to set up in a circular pedes-
trian area just below ground level, then take
18 MAY/JUNE 2010 WORSHIPMUSICIANMAGAZINE.COM
turns worshiping publicly and sharing the
Gospel with whomever would listen.
The Language
The Hungarian language, not being questions like: where is the most strategic,
of the indo-european roots we were more
familiar with, made it all but impossible to
learn to say much more than please and
thank you in Hungarian during our few
short weeks there. Consequently, everything
we sang or spoke had to go through a trans-
lator. All quite new to me then, but exhilarat-
ing none the less!
The Fruit!
To my amazement, the afternoon-long out-
reach went off without a hitch! No hassles
from police, no hecklers, no unexpected rain
showers. Just scores of Hungarian people,
from gypsies to businessmen in suits, stand-
ing on the ground level perimeter, and tak-
ing in every word and song we had to
offer! We took stacks of Bibles and
other Christian literature with us, and
the demand for these very quickly ex-
ceeded the supply. Who would have
imagined such a profound response?
Many received Christ that afternoon,
and were plugged in to local church-
es where they could be discipled and
lead into a mature walk of faith. We
gave away every book we brought, includ-
ing my own Bible in English! We prayed
with folks right there on the street, and saw
the light in their eyes as the Lord ministered
to their needs. Awesome!
Since that time in Budapest Ive watched
this scenario play out again and again. As
weve traveled from Suva to Hyderabad,
and from Houston to Sedona, the response
has been universal: Tell me more. Im curi-
ous to know about your faith, and this God
you worship so freely! Think your team
is ready to rise to the challenge of public
praise? I strongly encourage it! If so, here
are five tips to get you worshiping without
walls.
Five Steps To Public Praise
1- Say Yes. Such a simple little word.
Something we say hundreds of times a day,
and yet it carries so much clout, especially,
I believe, with God! It must be His favorite
word, dont you think? Yes is the first step
to worshiping without walls. Once we re-
spond in the affirmative to His go ye com-
mand, doors start to open, logistics fall into
place and wonderful, supernatural events
begin to unfold.
2- Pray. Pray for your team. Ask for fear-
less hearts. Pray for favor from God and
man. Ask the Lord for a plan (cause if you
dont know where youre going, any road
will get you there). Lift up those who will
hear you proclaiming the name of Jesus
Christ. Pray that their hearts will be ready
to receive the great news, and that they will
forever enter into the song of the Lord them-
selves! Cover the logistics in prayer as well.
You dont want to arrive at the worship site
only to realize youve overlooked something
as simple as the juice needed to plug in
your sound system!
3- Plan. Make a check list and a time-
line. Pray over these too! Ask yourselves
high traffic place to set up the team? Do we
need a permit to play there? What sound
equipment is needed for us to be clearly
heard? Where is the nearest source of elec-
tricity? Should we take a generator? Whats
the best time of day to play? How long
should we stay? What type of materials do
we plan to hand out? What type of support
personnel do we need to accompany us (a
prayer team is essential!)? Most importantly,
what is our ultimate goal for this session of
public praise: Worship evangelism? Spiri-
tual warfare? Prayer for the city? Raising
public awareness of ministry opportunities
we have to offer? You and God decide.
4- Go! In Acts chapter 1, when Jesus
said wed be witnesses, He began with a
hometown location: Jerusalem. After that,
He listed Judea, Samaria and the end of
the earth. The point is, start small, but get
STARTED! As your experiences compound,
youll find more and more open doors to
reach out with public praise; not just on your
own home turf, but in your state, your coun-
try and to the ends of the earth. Go!
5- Reap. Finally, join in the harvest! Jesus
said in John 4:35-36 that we shouldnt de-
lay because the fields are already white for
harvest. . .he who reaps receives wages,
and gathers fruit for eternal life . . . Lets
step into the fields and pick the fruit!
Public praise is an honor to God. Its a
spiritual war and a fantastic opportunity to
love whomever passes by. Dont you think if
Jesus played the guitar Hed be worshiping
the Father on the street corners too? Since
we have been given such gifts, isnt it our
privilege to offer them back to Him in public
praise? Lets worship Him on the plazas, in
the market, on the court house steps and in
the coffee houses. I challenge you to wor-
ship Him anywhere . . .
Beyond the walls,
Sandy
Sandy Hoffman serves The
Grace Community Church in
Santa Fe, NM, where he is
the Minister of Worship Arts.
Check out his new instrumen-
tal acoustic guitar CD, Sereno, at: www.
EssentialWorship.com
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 With her own mother serving as a role model in worship
leadinga rarity in that time and placeVicky Beeching
grew up in the UK, immersed in music ministry. Its fitting
groundwork for this pioneer of sorts, as Vicky, not content
with the CCM status quo, forges ahead with a Brit-rock
flare that is worship team friendly. Vickys heart is firmly
planted in a solid theological foundation, but her creativity
is expressed on the cutting edge; both musically and
technologically. Read on and youll see what I mean...

20 MAY/JUNE 2010 WORSHIPMUSICIANMAGAZINE.COM

 Aimee Herd: Vicky, I love the title and
concept of your new record Eternity
Invades, because when that happens
when eternity invadeswe are absolutely
changed every time. What was your
purpose, and what did you hope to
capture in this recording?
Vicky Beeching: I think some of it came
from me needing a fresh vision of worship.
I feel like sometimes, we as the Church can
treat it as a warm up for the preaching. Or,
you go to so many worship events, and sing
the same songs, and think what are we
really doing here?
Ive been asking God to really open
my eyes to everything that worship can
be. He did that for me in quite a mind-
blowing wayHe gave me an insight into
what actually happens in the spiritual realm
when we worship. (Not to make it sound
weird) But, there actually is a real meeting
of realms, isnt there, when we worship. I
love that verse that says, God inhabits the
praises of His people. Ive done a study on
that for the last yearon what it means for
the God of eternity to actually inhabitnot
just our music and our praisebut even a
room, venue or our hearts. We can expect
the stuff of eternity to break in and actually
change us.
So, I wanted to share the things that God
has been showing me to raise all of our
expectations, so that when we come to
worship, its so much more than singing,
and more than getting ourselves ready for
the preacher. Because eternity does invade,
and you may never be the same again.
AH: Its true. How can weas the
Church, and as a congregationreally
get a hold of that concept?
VB: Its a good question. I think its one of
those things thats best, as they say, caught
rather than taught. To become a worshiper
who opens yourself up to that, to go into a
context of worship or a devotional time, and
ask God that the things of Heaven would
collide with your heart and your spirit. Youll
begin to experience that. Ive been doing
more of that, and as I worship Ive found
that He can bring healing to mephysical
and emotional healingand He can bring
revelation of things that I didnt understand
either from the Bible, or in regular life. So,
doing that, and then also reading about
the things of Heaven in the Bible, and
beginning to put together a mental picture of
what its like there, according to the book of
Revelation. Its letting those things become a
part of you so, when you worship with your
feet here on Earth, you can imagine being
caught up in that.
AH: At the risk of spending a lot of time
on this, its just so intriguing I think a lot
of us can just gloss over that verseGod
inhabits the praises of His peoplebut
when you stop and think about what its
really saying, its quite amazing.
VB: It really is, and I think weve sold
ourselves a little short. We can expect
many things in worship, great music, lights
or power point, or even a great emotional
experience, but those things should be
eclipsed by the expectation that the God of
the universe would be there Himself.
AH: I think too, there is an aspect of fear
of the unknown, and being uncomfortable
with even the mystery of who God is.
VB: Yes, there is that element; there are
some aspects of charismatic worship that
can seem a bit scary. But, Im a real believer
that you can have the Word and the Spirit,
as equal parts of the Godhead who can
be present and working in our worship, and
theres nothing to be afraid of, if its genuine
Holy Spirit activity.
AH: You mentioned something in your
bio that I found very interesting. You said
that writing songs for the Church deserved
as much theological training as a pastor
would go through. Yougrowing up in
the UKattended Oxford. Can you speak
to that thought a little, because here in the
States, I dont think thats the norm?
VB: Its actually not the norm in England
either. To be a worship leader here... to
be totally honest, that job didnt exist 30
years ago. Its a newfangled thing. My
mums been leading worship all her life and
she jokes that her job really wasnt a job
till recently. Back then, for someone in my
mums position, it was an unsalaried role
without any training. You just showed up
and usually someone else picked the songs
for you. So, people writing new worship
songs and playing them is relatively new
thing. (Except that King David instituted it
years ago)
The fact that were not using the old hymns
as much anymore; a lot more choruses
and modern worship songs, that puts a
huge responsibility on the writers to make
them good. People remember the lyrics of
songs way more than sermons. That makes
songwriters the primary theologians for
the younger generation, because theyre
all listening to their iPods, but not really
devouring A.W. Tozer books. So, looking
at it like that, if the pastor had to go through
all that training, its only appropriate that the
songwriter, the person delivering the songs,
and choosing the set lists, they need to have
a good theology too.
WORSHIPMUSICIANMAGAZINE.COM MAY/JUNE 2010
AH: Theres an importance placed on
worship when youre reading through the
Old Testament. The singers, instrument
players and song leaders were integral
parts of the Davidic kingdom. There is a
real theological content there, even just
regarding worship, if you choose to delve
into it. Do you find it easier to write songs
since youve had that training to fall back
on for lyrical content, and when there are
certain concepts that you want to convey
do you find your training becomes a basis
from which you can draw?
VB: Yeah, I think it is. Im thankful for it, it
was great to be forced to learn those parts
of the Bible that dont seem particularly
interesting. I had those mean professors
yelling at me to learn it! Its good to know a
lot more about the Jewish context that Jesus
came into, thats one of the most valuable
things Ive learned.
AH: Vicky, you live in the States now,
what brought you across the pond to
live in America?
VB: Well, I moved six years ago to
Nashville. I had been living and working in
London with Soul Survivor Ministries, where
Matt Redman and Tim Hughes have been
based. I just had a real heart for the States
that wouldnt go away. I joked with my
pastor at the time, Be careful how many
times you send me to the States for ministry
conferences, because every time I go, my
heart for the States just gets more and more.
Eventually I felt like I had gotten to the point
where God was telling me to move there.
EMI came to London and said theyd love to
sign me if I would move to Nashville. So,
I was there in Franklin, Tennessee for five
years, and I loved it. Then, I had always
wanted to live in southern California, and
after 5 years, I moved, since my job is such
that it doesnt matter where I do it from, I just
need my laptop.
AH: And, you might as well be in the
sun while you work.
VB: (Laughing) Yes, I might as well try to
get a tanalthough Im still so pale! So,
Ive been there for a year and a half, and
Im not on staff at a church, because of my
schedule. I do love going, though, and not
having to participatejust being able to
receive, especially after tours and traveling.
AH: Lets talk about your new album,
Eternity Invades. First of all, sonically,
how does it differ from your first couple
of projects?
VB: Well, I must say that I love this album
more than any Ive made so farI love the
sound. When I was figuring it out, in the
21
 VICKY BEECHING: When Eternity Invades
very conceptual stages, I decided I wanted
it to sound like I sound live. I think the other
albums, while the guys did a great job, I
think theyve sounded a bit over-produced,
a little bit slick sounding, a little too
Nashville-CCM sounding. When I play
live, its got more of a British rock, raw
kind of feel to it. Its got more energy and
a lot more electric guitar. It kind of ebbs
and flows with that energy; I love dropping
things down and then really building up
bridges to a big crescendo. And, vocally,
that brings out something in my voice that
the other recordings just havent brought out,
because the music was a lot smoother.
So, I decided I wanted to start with real
band instruments, not programming, and
not using a bunch of session guys who
play on every record. I went with an indy
producerJonathan MacIntoshhis wife is
Sarah MacIntosh.
AH: Yes, and youve co-written a lot of
songs with her on this album.
VB: Yeah. When I moved to San Diego,
I connected with her. We were actually
sitting, having a cup of coffee when we
came up with the idea of Jonathan producing
the album. It was pretty hilarious, we were
literally sitting there saying, Yeah, thats a
great idea! and the next minute we were in
the other part of the house where theres a
studio. He was freaking out about the idea,
and we spent the next two weeks recording
two songs; Salvation Day and Blessing and
Honor, as a kind of a demo for Integrity
(now my label). They really liked what they
heard based on those two songs and they
said that we could continue.
I love the sound, because its got a sort
of live element to it like a Hillsong album
more like a British band kind of sound.
AH: It breathes more.
VB: Totally, its got space. We had a sit
down meeting, Jonny and I, to figure out
what it was that we didnt really like about
a lot of Christian music today. We werent
meaning to be rude, but we wanted to be
22 MAY/JUNE 2010 WORSHIPMUSICIANMAGAZINE.COM
continued
honest. A lot of CCM albums have too
much in them. We were thinking about
the average band in a church listening to a
CCM album full of so much stuff, and them
wondering how to replicate it with a four or
five piece band. So, we tried to make it
uncomplicateda lot of the guitar lines are
simple and really hookieso the average
church guitar player could actually play
them. We were trying to give the Church
an album thats ready to go that a worship
team could pull off and play all the parts.
AH: I know that some of the songs on
this recording have a bit of back story to
them; can you pick a couple to talk about
how they were written and where their
inspiration came from? One, Ill mention
right off the bat that really drew me in
was Breath of God.
VB: Oh cool. Breath of God, and all
the songs really, tie back into the Eternity
Invades theme. Breath of God, for me,
was a reminder that when we worship and
God inhabits our praises, the Holy Spirit
is actually there to empower us and fill us
up. There are other things that can happen
in worship, like deliverance. But, Breath
of God was really about us coming to the
context of worship, and not being afraid to
say that were empty, weak and worn out,
because we are human and thats how we
feel a lot of the time. It was inspired by the
book of Ezekiel, where Ezekiel looks out on
the valley of dry bones. The first verse talks
about the Holy Spirit and His activity in
creation, like the Word of God going out
and by His breath, darkness and nothing
became beauty and creation. And then
in verse 2 it talks about the dry bones from
Ezekiels vision, when he spoke the Word,
the bones came to life. And as we ask the
Holy Spirit to breathe on us, our darkness
and nothingness become a thing of beauty,
and our dry bones not only come alive, but
become a mighty army.
AH: I can really see that theological
vein throughout each of the songs lyrics.
VB: Two of the others that have meant
a lot to me are Deliverer and Break Our
Hearts. Deliverer, again because of the
concept that Eternity Invades, and when
we come into Gods presence, we can
actually ask and expect to be changed.
So, if were coming to Him, struggling
with different kinds of bondage, we can
actually believe that by the power of His
presence there, since He is the Liberator,
He will set us free. Im trying raise peoples
expectations of what can happen when
you sing. Ive actually had people whove
sung that song in worship, and have come
up to me afterward and said they really felt
theyd gained a freedom that they didnt
have before. Sometimes in the middle of
the song, Ill just keep playing instrumentally
and ask people to get really honest in their
own heart before God about the things that
they struggle with. Often in worship, were
not that honest; we put on a brave face and
pretend were okay. A bunch of people
came up to me after that worship set, and
said that when Id played instrumentally
and given them time to talk with God in
their hearts, then we went into the bridge,
...Your blood is enough to break every
chain... They said that as they sang that,
they could sense God breaking stuff off of
them. My heart and prayer is that it would
happen like that again and again.
AH: Isnt that awesome? Its such
a sovereign work of God when that
happens during worship.
VB: Yes, totally. And the other song, Break
Our Hearts, is a song about social justice.
Ive been getting quite involved with [trying
to end] human trafficking, Ive been on a
bunch of different trips in Mexico City and
Lima, Peru and Amsterdam. ...Just kind
of seeing some of the darker corners in
the world. After seeing all that, I felt my
heart was not broken enough compared
to Gods heart. His heart is grieved and
broken and devastated over all these
things in the world, and I find it easy to
keep turning the channel on my TV, or go
back to my comfortable life. So, my prayer
after all those trips became, God, would
You break my heart with the things that
break Yours. That became the chorus of
the song, and the verses are specific, Its
time for us to live the song we sing and
turn our good intentions into actions... It
talks about us being distracted by things
when we need to be paying attention to
the things God weeps over.
I always wanted to write a lyric about
money, and I managed to get it into the
second verse: Its time for us to change
how we think and how we spend until we
look like Jesus again. I got one in about
money, so Im glad about that! (Laughing)
AH: Vicky, as a fellow, female
worshiper-of-God, I was excited to see
the online ministry youve launched,
WomenInWorshipNetwork.com. Can
you talk about that a little bit?
VB: Yeah! I am so ridiculously excited
about that. It was only launched a month
ago, and weve already got over 200
members in the members area of the site
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 VICKY BEECHING: When Eternity Invades
(at the time of this interview).
The idea grew in my heart
over the last 10 years after
traveling around and having
girls and women coming
up to me and saying that
they need encouragement.
Women are looking for a
mentor or someone in their
local area who has the
same heart, because they
feel a bit alone.
I think its fair to say that
in a band worship setting,
there are a lot more guys
than girls; especially
worship pastors, there are
a lot more men doing it.
So, I figured we could use
cyberspace to bring everyone together. I
bought the domain name about 3 years
ago, and it took me until last month to
actually get the site done and working. The
home page of the site is for everyone. Its
got articles, theres one by Rita Springer,
and one by Rebecca St. James, another
coming from Kari Jobe, so weve got a lot
of good people writing for it. Then, if you
click on the members part, it takes you to
the real site which is this big social network
where you can create your own profile. You
can also upload your own songs so people
can listen to each others songs. And then
there are groups that you can join. There
are groups for every state in the US, or if
youre in England, Australiayou can
meet people in the forums. My hope is that
people never again have a reason to feel
disconnected. In the forums you can ask all
kinds of questions like, What key should
we sing this in? or How do you, as a
woman, lead a band full of men? Stuff
like that to make it easier for people who
are coming through and doing the same job
as me.
AH: So its primarily for women who
are on a worship team, or leading, or
aspiring to lead? Or just women who
love to worship?
VB: Its actually all of that. I think my
24 MAY/JUNE 2010 WORSHIPMUSICIANMAGAZINE.COM
continued
primary reason for starting it was for women
who were leading worship with a team. So
the can ask practical questions like, how to
transpose songs from guy keys into girl
keys. The more I thought about it though;
I wanted to make the site relevant for any
woman or girl who has a heart for worship.
One of the groups is called, I Love to
Worship But Im Not a Worship Leader.
Then, when I do the interviews with people
like Rita and Rebecca St. James, I make sure
I ask questions that arent just relevant to
worship leaders.
AH: Vicky, what would you say is the
biggest challenge for a female worship
leader right now?
VB: Good question... I would say it
depends where you are. The challenges are
much greater if youre traveling all the time.
But, wherever you are, probably a lot of it
for us as women is emotional. And, Im not
like a girlie girl at all! My bedroom is full
of guitar amps and I wear jeans and a t-shirt
every day. (Laughing) But, Ill be the first
one to admit, I think women are wired to
need emotional support; to need that sense
of connection. Often, if youre the leader,
and youre leading a band and have a
sound team who are mostly or all guys
and a pastor who is maleyou can feel
a bit isolated. So, I would say the biggest
challenge is to find people whom you are
connected to and who you are supported
by to help you in your leadership role.
AH: And, then some female worship
leaders have families, so there is that
dichotomy too.
VB: Oh totally, and childcare and being
pregnant, raising babies, and recovering
from being pregnantI get a lot of people
who talk to me about that. Like, how do you
worship with guitar when youre nine months
pregnant?! (Laughing) Its quite tricky.
AH: You just mentioned that you have
a bedroom full of guitar amps, can you
name off some of your favorite gear?
VB: Ive become a big fan of electric
guitars as of the last five years or so; I find
I have to strum a lot less. On acoustic Im
strumming all the time and its quite busy.
Ive got a Gretsch White
Falcon, which is the guitar
on the front of the album
cover, thats my pride and
joy, I love it.
AH: Did you name it?
VB: (Laughing)
Gretchen. It was the
only name that seemed
appropriate! So, theres
Gretchen, and then Ive
got a Gibson acoustic
J-150 blonde with a black
scratch plate with white
flowers on it. Ive got an
Epiphone Valve Junior,
just a little amp I rehearse
with, and Ive got a blonde
AC-30 Vox, on loan in my
room at the moment, which
is amazing and maybe
one day Ill own my own one of them!
AH: Now, I heard you were thinking of
writing a book, is that in the works yet?
VB: Yeah, its been an interesting journey,
though a little backwards, Ive had two
publishers give me contracts, and then I
didnt really know what to write. They were
like, Write us a book. And I said, I think
its supposed to be the other way around
where I have the idea and I call you. But,
its got me thinking; theres definitely a book
on the way someday. I keep coming up with
ideas and then going, No, I dont think
thats quite it. It will happen, but for me,
I take it quite seriously because ever since
I was about 10 Ive wanted to be a writer.
So, Im not willing to write a book like a
worship leader puts out, a kind of token
accompaniment to a CD. Id really like to
set the bar high and try to write something
that can stand alongside other writers. I think
in years to come, when I do less worship
stuff, and I get old (Laughs), Id like to be a
writer and a speaker. So, Im going slowly
on the book thing, because I want to make
my first one a good introduction to the world
of writing.
Visit Vicky Beechings website at:
www.VickyBeeching.com
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 Songchart

Words & Music by Words

Words&&Music
Musicby
by Words & Music by
Vicky Beeching Vicky
VickyBeeching
Beeching Vicky Beeching
Jonny MacIntosh Jonny
JonnyMacIntosh
MacIntosh Jonny MacIntosh
Sarah MacIntosh Sarah
SarahMacIntosh
MacIntosh Sarah MacIntosh
INTRO
C,
, Bb2
Bb2 F, Dm, C, Bb2

11 VERSE 1
Dm7 F Dm7
Dm7 Dm7
els
risisfilled
who
filledspeak
with
with
The angels
air
and
angels
isshout
filled
who
who Your
with
speak
speakname
angels
and
andshout
shout
who Your
speak
Yourname
name
and shout Your name
m7
m7 C Gm7 CC C
mosphere
mosphere
ng as eternity
is
The
ischanging
changing
atmosphere
invadesas aseternity
eternity
is changing
invades
invades
as eternity invades
Dm7 F Dm7
Dm7 Dm7
uddenly
he
ddenly
floorabove
above
ofAnd
heaven
us
suddenly
usthe
the
breaks
floor
floor
above
of
ofheaven
heaven
us thebreaks
breaks
floor of heaven breaks
C2 C Gm7 Csus C2
C2 CC Csus Csus C2 C Csus
n,
ur
r Spirit
we
Spirit
will
falls
falls
As
saydown,
Your
down,Spirit
we
wewill
will
falls
say
say
down, we will say

CHORUS
CHORUS CHORUS
Fsus F Fsus
Fsus
Dm7 FF FsusDm7
Dm7
F Dm7
d ho -Blessing
Blessing
nor, glory
and
and
and
ho
hopower
Blessing
-- nor,
nor,glory
glory
andand
ho
andpower
-power
nor, glory and power
G7 G7
Bb
G7 G7
Bb
Bb Bb
name, Bebe
BetotoYour
Yourname,
name
name,Bebe
betoto
toYour
Your
Yourname,
name
namebe to Your name
sus F Fsus
Fsus FF Dm7 Fsus F Dm7 Dm7 Dm7
rai - ses
All
All
throughout
ofofthe
theprai
praithe
--ses
All
ses
agesthroughout
of
throughout
the prai the
-the
sesages
ages
throughout the ages
G7 G7
Bb2
G7 C F G7 Bb2
Bb2
Dm7 C C Bb2
C FF Bb2Dm7
Dm7 CCCBb2
Bb2
F Dm7 C Bb2
name, Bebe
BetotoYour
Yourname,
name
name,Be
forevermore
be
betoto
toYour
Your
Yourname,
name
namebe forevermore
forevermore
to Your name forevermore

22 VERSE 2
Dm7 F Dm7
Dm7 Dm7
ay
yshining
we
wewill
willlike
One
see
seethe
You
You
daysun
shining
we
shining
will like
see
likeYou
the
thesun
sun
shining like the sun
C Gm7 CC C
oeye
face
facetowith
with
eyeFace
beauty,
beauty,
withtoLove
face
eye
eyewith
to
toeye
eyebeauty,
with
withLove
Love
eye to eye with Love
Dm7 F Dm7
Dm7 Dm7
ngwe
g with
with
willthe
the
throw
Standing
elders,
elders,
ourwe
crowns
we
with
will
will
thethrow
throw
elders,
our
our
we
crowns
crowns
will throw our crowns
Csus Gm7 C2
C2CC Csus Csus C2 C Csus
efeet
eet
shout
of
ofJesus
Jesus
At asthe
as we
feet
weshout
shout
of Jesus as we shout

TCHORUS
CHORUS
REPEAT CHORUS

E BRIDGE
Dm7Bb2Bb2 Dm7
Dm7Bb2 Dm7
mega
ethe
theAlpha,
Alpha,Youre
the
theOmega
Omega
the Alpha, the Omega
/A
Csus
CsusCC F/A
Csus
F/A C F/A
ainer
reator
eatorof all
and(6X)
and
The Sustainer
Sustainer
Creator of all(6X)
ofall
and (6X)
Sustainer of all (6X)
CsusBb2
Bb2
C Csus
Csus
Bb2CC Csus C
You
ou
re are,
are,Yes
Yes
Yes,
You
YouYou
are
areare, Yes You are

TCHORUS
CHORUS
REPEAT CHORUS

2010
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andIntegrityWorship
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c/o Integrity Media, Inc., 1000 Cody
IntegrityMedia,
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Inc.,PO
Brentwood, POBox
TN 5085,
37024 5085,Brentwood,
BoxPublishing,
Brentwood,
Inc., POTN
TN 37024
Box37024
5085, Brentwood, TN 37024
All rights reserved. Used by All
Allrights
rightsreserved.
Permission reserved. Used
Used by
All Permission
byrights
Permission
reserved. Used by Permission

26 MAY/JUNE 2010 WORSHIPMUSICIANMAGAZINE.COM

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 Record Reviews By Heidi Todd

North Point Live Matt Boswell Marie Barnett

Awake Gravity & Gladness Heaven Came Down

TRACKS (personal picks bolded) TRACKS (personal picks bolded) TRACKS (personal picks bolded)
1 God Is Alive 1 Doxology 1 Hidden Places
2 Bless Your Name 2 Our Glorious God 2 Jesus Name
3 It Is Well 3 Christ Is Risen Indeed 3 Heart Of My Heart
4 Hands Of The Healer 4 O God Of Our Salvation 4 Call Upon Your Name
5 Everything 5 I Will Sing 5 Poured Out
6 Nothing Can Separate Us 6 Glory In The Cross 6 Nothing Separates Me
7 We Crown You 7 Beautiful Wonderful Cross 7 He Is Lord
8 Jesus Reins 8 In My Place 8 We Remember
9 Glorious 9 In Excelsis Deo 9 Great Is The Lords Love
10 Forever Changed 10 Jesus Died My Soul To Save 10 Heaven Came Down
11 A Mighty Fortress 11 Endless Mercy Of God 11 Oh Lovely One
12 Glory To God Forever 12 Come What May 12 Every Tear
13 No One Higher/The Stand
14 Rise and Sing An album with a clear theme, the cross, A very different style of music for a wor-
makes its approach with a sense of childlike ship album, this is reminiscent stylistically of
In a word, energy! The album is innocence. A subject so weighty as Christ alt-country stars like Emmy Lou Harris and
aptly named Awake because the team on Calvary is delivered with an unexpected Neil Young, with a little bluegrass mixed in
sounds as though theyre standing on the levity. You can hear the influences of expo- for good measure. Simple, personal, every
balls of their feet throughout most of the sure to amazing hymns as well as someone day people music. You can easily imagine
recording. Its a wealth of fast songs, not who loves to read. Theres a good mixture Marie perched on the edge of a wooden
so easy to come by for most worship writ- of emotion and conviction in Matts voice, stool, eyes closed and having a personal
ers. well framed by a variety of instruments. conversation with her Savior.

Theres a great balance of singing Cant say enough There is no flash here, no polish. Its a very
forcefully without sounding too forced and about the lyrical con- sleepy, reflective album that sounds most
they did pretty well in this regard. I have to tent; its focused and suited to the stillness of one-on-one times of
say that the level of force through the entire honoring. Though devotion. It is such a departure from what
album left me wishing for a little bit of lin- the words are many youre likely to hear in most churches, and
ger. Even when some of the lyrics would and meaningful, while thats not a bad thing, fewer people
suit some sustained reflection, no more than they are phrased will know how to relate to it on the first hear.
a couple of measures would go by without with the melody in
everyone pushing and driving again. It be- such a way that High marks to
came a little wearing, explaining the only 3 people would have a pretty easy time of Marie for being true
marks for overall impression. singing along in a congregational setting, to self and sharing
although memorization is unlikely unless you a unique expression
Nonetheless, the band does a good have an amazing memory or sing the songs with an audience
job being right where they need to be in- a lot. Youd want to sing these songs with that I hope will em-
strumentally and include plenty of dynamics your eyes open, but I dont think that would brace her sincerity
throughout each song so that even the driv- take away from the meaningfulness and per- and her gift
ing songs give you a break here and there. sonal expression.
Passion
Lyrically, theres thought and originality; Theres a laid back mellowness to many Awakening
not so much rhetoric that is so easily found of the tracks, which is good. Id challenge
elsewhere. And a bold move was to in- Matt to stretch the range of his vocals to TRACKS (personal picks bolded)
clude songs written by other worship writers add variety and color and break things up 1 Awakening
mixed in with their originals. They fit well a bit. That said, the focus is where it should 2 Say, Say
and complemented the overall expression be and people singing these songs in their 3 Our God
of the album. A personal favorite of mine, own churches will be grateful to not be put 4 How He Loves
Tim Hughes Everything, was covered and through massive vocal acrobatics. 5 Healing Is In Your Hands
though it takes on a whole new feeling, I 6 King Of Heaven (Isaiah 61)
had to give North Point props for doing it It would not surprise me to hear many of 7 You Alone Can Rescue
justice. these songs used as featured music in Easter 8 Where The Spirit Of The Lord Is
and Christmas services for years to come. 9 Rise And Sing
Im grateful to them for the victorious, joy- While they have sustainability, they are still 10 Like A Lion
ful expression of who God is. Great job! sincere and personal. 11 Chosen Generation
12 With Everything
Overall impression
Because Im so
Average person could learn/participate on the first hear slow to jump on any
Can be learned/adapted by a band of average skill bandwagon, any
time the worship
Lyrical creativity and integrity giants appear to-
North Point Live Awake gether like this on a
Passion album, I un-
Matt Boswell Gravity & Gladness intentionally take on
Marie Barnett Heaven Came Down a prove it attitude.
Well, dang it, they got me, these giants. I
Passion Awakening am won over.
Meredith Andrews As Long As It Takes
With the first track, its easy to see where
highest marks the rest of the album is going and you look

30 MAY/JUNE 2010 WORSHIPMUSICIANMAGAZINE.COM

 AS LONG AS IT TAKES
IN STORES NOW!
Listen to these songs for use
in corporate worship:
Only to Be Yours
How Great is the Love
(co-written w/Paul Baloche)
As Long A It Takes

Sign up for Meredith Andrews and Pocket Full of Rocks online communities and
download FREE chord charts, leadsheets, instructional videos
visit www.meredithandrews.com or www.pocketfullofrocks.com!

MORE THAN NOISE IN STORES NOW

Listen to these songs for use in corporate worship:
WONDERFUL, EVER CLOSE TO YOU
JESUS DIED MY SOUL TO SAVE, LET OUR GOD BE PRAISED
 Record Reviews
forward to the following tracks. The worship
leaders flow well together from one song to
the next, passing the baton to each other to
create movement and variety.
While I would never encourage any art-
ist to imitate another artist, I would say that
in principal, when you craft a live worship
experience, this is a good way to do it
moving in and out of varying expressions
and energy levels.
Though at times a couple of the faster
tracks take on a heard it feel and the lyrics
lean a little toward the uninventive, its obvi-
ous that the truth of the songs wont be lost
on the listener.
No question, this album is full of power
it makes you wish you had been there
during the recording. And if you are in a
place where you can turn up the volume to
a nice respectable roar, you almost feel like
you were. As a worship leader, you hope
to create an avenue where people can con-
nect with, and get caught up in the time-
liness presence of the Most High. Passion
has done it again.
Meredith Andrews
As Long As It Takes
TRACKS (personal picks bolded)
1 Never Move On
UNIVERSAL & CUSTOM FIT IN-EAR MUSICIANS MONITORS
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32 MAY/JUNE 2010 WORSHIPMUSICIANMAGAZINE.COM
2 Only To Be Yours
3 Can Anybody Hear Me
4 As Long As It Takes
5 Come Home
6 All Will Fade Away
7 What It Means To Love
8 Live Through Me
9 My Soul Sings
10 In Your Arms
11 How Great Is The Love
Sung from a youthful heart, the songs on
As Long As It Takes reflect someone on
a journey much like David wrote about in
the Psalms. He would ask questions, make
requests, express his fear before the Lord but
punctuate everything with a yet I will praise
You. He was honest about his void, while
still declaring what he knew to be true that
God fits and fills every void.
Meredith, not new to the avenue of writ-
ing and recording, delivers a confident but
palatable vocal performance. Sometimes
she soars, sometimes she rests, but makes
room throughout,
for the instrumenta-
tion to weigh in on
the emotion of the
songs.
I wouldnt call this
a cut and dried wor-
ship album. Its cer-
westone.com/music
Visit us at NAMMLive DemoBooth 6995, Hall A
By Heidi Todd
tainly full of songs that are easy to include
in many settings and situations though. The
ideas and structure behind the songs makes
many of them adaptable to multiple audi-
ences, so if other people were to sing her
songs, they would still stand on their own
merit.
To give the level of credibility that her
voice is deserving of and her ability to write
a song, I hope that her next release is way
less produced. I kept wanting to remove
a lot of the layers that rounded off all the
rough edges and covered over any raw
quality that could have made this album
more interpersonal. Its obvious these songs
are sincere and meaningfully connected to
Jesus sometimes adding so much produc-
tion value removes the connection from the
artist to the audience. So Meredith, keep
the beautiful contributions coming looking
forward to hearing more.
Heidi is on the Creative
Arts staff of Puyallup Four-
square Church, where shes
been for over seven years
and was recently made
the worship pastor at a new satellite of
PFC. Her background is primarily in wor-
ship ministry (starting at age twelve) while
also enjoying work with youth, women, tech
arts, and more. heidi@p4square.com
Leeland
Westone ES2 custom fit
in-ear musicians monitor

By Justin Fox
Gods Favorite Kind of Worship
As two dozen teenagers and I hefted
a monstrously heavy wooden bench and
prepared to slog it through the snow to the
other side of the camp, I knew this was
a different type of worship for most of us.
Some people wouldnt even call it worship
- but God does.
Ive often wondered what Gods favorite
type of worship is.
Have you ever wondered if God has
a favorite style? What does He like best?
R&B? Passion? Soul Survivor? Bluegrass?
Hillsong? Hymns? What do you think, re-
ally? We all say that He appreciates and re-
ceives our praise no matter the style, as long
as it comes from the heart, but secretly...if it
was just you and He, having a Macchiato
at Peetes (His coffee preference for sure),
and you asked Him...Do you think He might
have a favorite?
Well, guess what? He does.
Worship Arts Technology Summit
Musicians
Three day intensive June 14 - 16, 2010 Biola University La Mirada CA
hands on worship training
for your entire team!
For information (877) 439-WATS
God says this through the prophet Amos:
Ive had all I can take of your noisy ego-
music.
When was the last time you sang to me?
Do you know what I want?
I want justiceoceans of it.
I want fairnessrivers of it.
Thats what I want. Thats all I want.
(Amos 5 - The Message)
As a songwriter and contemporary wor-
ship leader, this passage is a tough one
to wrestle with. His comment about music
stings and challenges. He also offers no
redemptive instruction regarding music at
all. Now, I realize there are many other
references throughout the Bible where mu-
sic is encouraged as a true expression of
worship. I know God loves music, but there
seems to be two things He loves even more;
Justice and Fairness. These are words with
a sense of action embedded into them,
action that awakens other virtues, as well;
Compassion, Generosity, Service, Kind-
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ness. The questions
we have to ask are;
What would it look
like for us to worship
God the way He
wants? What could
this look like for
our congregations
during a contemporary worship service
in which we seek to please God with our
praise? And the toughest one of all; Are we
really pleasing Him now?
As Ive been wrestling with these thoughts,
Ive had the opportunity to facilitate some
unique worship expressions in a variety of
ways, and I wanted to share the latest ex-
perience. Recently, I was the speaker and
worship leader (use of quotes, because
Im still trying to figure out those titles) for a
group of high school students in the moun-
tains of Washington. I focused our times
together around various postures; Praise,
Continued on page 51
Media Vocalists
WORSHIPMUSICIANMAGAZINE.COM MAY/JUNE 2010 33
 Foh Engineer
By John Mills
Compression 201
Last month we spent some time on the ba-
sics of what a compressor is, what it is used
for, and what all the knobs do.
This month I want to give you some basic
settings to get you started on specific instru-
ments and situations, I also want to dispel
a nasty myth that many people typically be-
lieve about using a compressor to fix mic
technique.
First lets hit some of those basics. Here
are a few thoughts before we get into the
numbers.
When learning compression, try starting
out with the auto button engaged. If your
compressor has one, this button automati-
cally sets the attack and release for you. It
is not always completely correct, but it does
do a pretty good job of guessing what you
want to achieve.
If you have an OverEasy button, turn that
on. Over Easy is a trademarked process of
controlling the compressors knee, but simply
put, it is a little more musical sounding type
of compression.
One thing to note is that every brand of
compressor sounds a little different. Thats
why top studios have many different types of
compressors. For our practices though, we
are not interested in the subtle differences,
but more in controlling the dynamics of our
instruments and vocalists.
I need more compressors is not always
the solution. I run mostly digital consoles
these days, so even though I have the abil-
ity to put a compressor on every channel, I
honestly only use about 6 to 8 compressors
in a typical worship band setting and one
compressor on each vocalist.
What should I compress?
I typically compress vocals, drums, bass,
and acoustic guitar. When Im short on com-
pressors I make decisions in that order.
A word to the wise on subgroup
compression.
Compressing with sub groups is a topic
we will save for another day, but in short, be
careful using it. A compressor compresses
the loudest thing it hears. So if you have a
sub group of 8 background vocalists and
use only 1 compressor on that group, the
loudest singer will be triggering the com-
pression for everyone else. Its useful for
controlling the overall dynamics of them, but
will completely mess up if the blend of their
vocals you are feeding the subgroup is off
or if one person overpowers the others from
time to time it will just turn everyone down.
A better solution here is to have a compres-
34 MAY/JUNE 2010 WORSHIPMUSICIANMAGAZINE.COM
sor committed to each individual vocalist, or
at the very least, put one on the lead vocal
and one on a subgroup of the background
vocals
Learning to hear what the attack and
release settings really do.
This is actually a good trick to setting the
compressor up in general, but be sure to
follow all the steps and please note these
settings are not correct settings for a kick
drum, but meant to allow you to hear
what the attack and release are doing.
See later in the article for actual settings I
recommend.
Insert your compressor on a Kick Drum.
Set your Ratio to 8:1
Set the Threshold so you are getting
about 10db or even 20db of compression.
Set Attack all the way fast.
Set Release somewhere in the middle of
the dial.
Turn the output gain back up as to match
the amount of compression you are seeing.
(You can check that you are correct by alter-
nating the bypass switch. You should NOT
notice a difference in volume. Tone, yes, but
perceived volume, no.
Now start moving the attack toward a
slower setting. Youll notice that the drum
starts to get more click or attack coming
through. Find a nice setting that allows
punch but still controls the latter part of the
sound.
Turn the Release all the way fast to start.
Now while listening to the overall tone and
decay of the drum, move slowly toward
slower settings. The compressor should fully
release BEFORE the hit of the next drum,
and you should be able to find a setting
that adds to the overall tone or thickness of
the drum.
And think about this. A drum is a very
short time wise instrument. So youll almost Listen to the click on the drum when choos-
always use fast attack and fast release set-
tings.
Vocals and instruments are more musical
and sustain much longer so therefore their
release rates are more matched to the music
time wise.
The magic where do I start.
All right, now that we have got all that
out of the way, lets go after some of those
magic numbers. Remember these are start-
ing points; at the end of the day always trust
your ears.
Vocals:
The idea with vocal compression is to
smooth out their dynamic range so they will
sit in the mix better. When Sally goes for that
high note in the Sandi Patty song, it should
not make your ears bleed. As well as when
she goes to a quiet section we should still be
able to hear her.
Threshold: Set so there is always a little
compression taking place. Maybe 1db on
soft sections and 10db on loud sections.
Ratio: 2:1 for lead vocals, and 3 or 4:1
for background vocals.
Attack: About 25ms
Release: Should be somewhere around
200 to 400ms.
Output: Dont forget to bring the output
back. If you are seeing 4db on the gain
reduction meter boost the output by +4db.
That way you make up the gain you lost in
the compressor.
Drums:
The biggest benefit of compressing drums
aside from controlling their dynamics is that
we can achieve a punchier sound. Try these
settings. One compressor on a sub mix of
the drums will often be a good solution. But
like I said above, the loudest thing in the
subgroup triggers the compressor, so be
sure to balance the levels of the drums so
the compressor is hitting evenly on all the
drums. That said I always prefer to have an
individual compressor on each drum.
Threshold: Set so there is about 4db on
normal hits. More compression will return a
more squashed sound, which is often de-
sired, on a snare.
Ratio: 4:1
Attack: Set as fast as possible. I find 3 to
15ms will let a nice bit of the snap through.
ing this setting.
Release: Kick/Snare 20 to 75ms will fat-
ten up the tone, or meat, of the drum. Toms
might be as high as 500 if it has a lot of
sustain.
Output: Dont forget to make up the gain
you lost from compression. If you set it so
you see -4db on the compression meter,
then turn up the output of the compressor
by +4db.
Bass:
Since the bass guitar is the feeling and
driving force behind most contemporary
worship music, I tend to want it pretty solid.
I dont like the low frequencies jumping
around as if they were coming and going.
Continued on page 44
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 Creating Your Map
By Scott A. Shuford
Ministry + Artistry = Profitability? MAP
Editors Note: Were happy to debut
this new column! Focusing on a bal-
ance between the business of
music and ministry, Scott will
take your questions and
share successful strate-
giesfrom his expe-
riences work-
ing with
Integ-
rity
Mu-
s i c ,
Wo r s h i p
Together, Vine-
yard Music, Rick
Muchow (Saddle-
back Church,) and oth-
ers in the areas of social
media, public relations, ad-
vertising and promotion. Email
questions on this topic for future
consideration to Scott@CreatorLeader-
shipNetwork.com.
Welcome to the first of a multi-part se-
ries on marketing for worship leaders. Im
prayerfully excited to begin this dialogue
with you in the hope that God will bring us
together to help extend your reach in wor-
ship music and the arts.
One of the most frequently asked ques-
tions I hear is How do I make it in the mu-
sic industry? Ive heard that question stated
in many different ways, but the common
36 MAY/JUNE 2010 WORSHIPMUSICIANMAGAZINE.COM
thread is about making ends
meet. For me, that is M
+ A = P which is the
MAP I think
I have for
you.
Can
Ministr y
+ Artistry
= Profitability?
Absolutely. How
you get there will de-
pend on your answers
to several key questions.
Lets nail down the first ques-
tion.
The first question to ask yourself
is What is your mission? This is not as
simple an answer as you might first think.
What is your calling? What, exactly, has
God called you to do? Who has he called
you to minister to? Are you called to write
music for the world to hear or are you called
to minister within the church? For most of us,
those are two completely separate things.
Are you rock solid in your answer to this
question?
I recently had a conversation with artist
and worship leader Jadon Lavik. Our con-
versation together revealed to me that Jadon
had answered this question, and more im-
portantly, accepted his answer. I first met
Jadon when he was a Saddleback Church
music ministry intern. Weve kept in touch
over more than a few years. Soon after his
internship, he was signed by BEC Record-
ings, hit the road opening for top Christian
artists like Natalie Grant, and went on to
put out a total of four albums. As I write this,
he is just about to release his first new al-
bum in several years. Hes gone indie and
is looking for his MAP.
His comments during our conversation
signaled to me that Jadon has settled into
his calling. As we talked about his expe-
riences on the road and with the label, it
was clear to me that he understands and
accepts that in this season of his life, he is
called to lead the church body into deep-
er relationship with Christ. Jadon is still a
younger, new family kind of guy. With
the platform he has, he can go
several directions. He feels
strongly that he is called to
lead Soccer Moms and the
rest of the body of Christ
into deeper connection
with God through singer-
songwriter driven songs of
worship and life. Hes not
excluding any opportunity
that might come up, but he is
clear about his primary calling
and audience.
This is a huge step for most artists to
make: to understand the context within
which their artistic gift is going to be the
most useful within the body of Christ. I think
its hard for us as creative, artistic people
to not feel like were somehow cutting off
our arms if we define our art, or God for-
bid limit it in some way. However, without
firmly answering this question for yourself,
you cannot pursue a path to stability and
profitability. If you are called to be the next
Switchfoot or P.O.D. then you are not on the
same path as the next Chris Tomlin or Steven
Curtis Chapman.
What is Gods calling on your music?
Send me your answer to that question and
briefly explain why you think what you think
or know what you know.
Now that we will have settled the ques-
tion of your mission, next time well talk
about the tectonic power shift that has af-
fected the entire music industry and all music
artists, including worship artists and minis-
ters just like you.
Scott has led classes for us
at NAMM and the Christian
Musician Summit. He was
recently featured in Adweek
and is the CEO of FrontGate
Media, the #1 pop-culture media group
reaching the Christian audience (www.
FrontGateMedia.com) and is the co-founder
of Creator Worship: online radio for wor-
ship leaders (www.CreatorLeadershipNet-
work.com).


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MATT REDMAN
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info@christianmusiciansummit.com 253.655.5000
 Authentic Worship
By Michael Gonzales
Worship Dangerously
When looking back on our lives, there
are things we probably wish we could do
different. For me, I should have learned to
ride a motorcycle. There are days when I
think, Man, I should have been a fighter pi-
lot or I should have been a U.S. Marshal
like my nephew.
The one thing that re-surfaces in my
thoughts is how I would have been a differ-
ent kind of worship leader.
For one thing, I would have worshiped
dangerously.
Let me explain it this way. There are peo-
ple I know who may or may not be believ-
ers, but there is something very real, very
tangible about their lives. They risk the future
by telling the truth today. Its like when a
police officer pulls someone over and asks,
Do you know why I pulled you over? Real-
ity shows reveal a hilarity of answers. Uh,
you want my number for a date? You want
to buy my car? You found my iPhone?
Then there are those people that give a
surprising answer, Im sorry officer, I was
speeding. I have a problem with a lead
foot but thats no excuse. I really appreciate
what you folks do out there. Give me what I
deserve as a reminder to do better. Wow!
What does an offi-
What I do cer say to that?
like about Well, there are
times when I wish
many worship I was a more au-
thentic, more real,
teams today and as a result more
dangerous.
is their ability In the history of
to mobilize in the early New Testa-
ment church, what
prayer (another Christians did was
considered danger-
dangerous act). ous enough for Pliny
(A.D. 111-113) a
Roman governor, to find out what Christians
did during worship. One of the things that
was interesting in Plinys report was the gath-
ering together of believers for a common
meal. That may not seem very perilous, but
stick with me.
I am reminded of a church I know that
actually has a person in charge of minister-
ing to the worship team by making a meal
for them each week. I would say that is rare
today and something worth considering.
One of the great things about meeting
together is there is power in numbers. What
I do like about many worship teams today
is their ability to mobilize in prayer (another
dangerous act). It is dangerous because
38 MAY/JUNE 2010 WORSHIPMUSICIANMAGAZINE.COM
You Live It.
Now Wear It.
LOVE ONE WOMAN... MANY BASSES
it the thing the evil one does not want to
have happen in our daily lives. Prayer is a
strong weapon and when the Holy Spirit is
in agreement with our petitionsstuff hap-
pens!
The other powerful thing that happens
over time is people on the worship team
get a clear picture of what each persons
strengths are. Those that have excellent
leadership abilities seem to rise to the occa-
sion and pull the team together. Other team
members raise the bar of excellence by their
musicality. They have the ability to make a
mediocre song seem remarkable. There are STICK WITH MANY DRUMS
ONE WOMAN...
also those that have expressions of joy all
over their face and the way they worship
can make anyone turn from sour to sweet.
The worshipers I love are the wise ones.
They dont have to be the worship leader,
but when given the chance they share
power that God can only give. The words
those individuals speak do not bring glory to
themselves but point to a holy purpose that is
selfless and not selfish.
My final comment is that a worship team
is like a Swat team (another metaphor with
dangerous implications). Swat team mem-
bers are specialists, trained in one main
taskstop the bad guys now! Worship Love One Woman... Many Faders
team members are also specialists trained
in ushering people into the kingdom now!
Swat team members become so close, they
are like family to each other. A worship team
should become tight like the Swat members.
The team becomes more cohesive and that
cohesiveness is one less thing people in fel-
TM
lowship have to criticize or worry about.
Finally, a Swat team knows their tools. The
worship team needs to apply that principle
as well.
Each worship team member, unified, be-
comes one sacrifice of praise. When the
worship team is in sync with Gods Spirit,
the assembly of believers become one
big dangerous representation of evidence
hoped for and Christs power by dying for
us. Worship may lie in traditional things we
do each week, but the focus of worship is
experiential and goes beyond the boundar-
ies of time. For we are worshipers of Christ
today and as far as God Almighty is con-
cerned, we are connected with the worship-
ers throughout the ages. To Him, it is all one
big worship experience and you and I have Retail Orders
the privilege of being His dangerous wor-
shipers. Welcome
Michael Gonzales, Ph.D.
Professor, Biola University
253.445.1973
mike.gonzales@biola.edu Find it at
www.musiciansthreads.com
You Live It.
Now Wear It.

LOVE ONE WOMAN... MANY BASSES

STICK WITH MANY DRUMS

ONE WOMAN...

LOVE ONE MAN... MANY DRUMS

Retail Orders
Welcome
253.445.1973
Find it at
www.musiciansthreads.com
 Guitar
By Doug Doppler
Sound Advice
In the 40 years that Ive been playing
guitar, and Ive had just about every imagin-
able disaster strike. If it can go wrong, it
has, and it just might again today, so be
prepared
Honey, did you hear something?
I carry ear plugs with me everywhere I
go. They live in my left jacket pocket, and I
usually carry an extra set or two in a ziplock
in my pants. If you play next to a drummer,
try putting a single plug in the ear that faces
the abuse coming from his cymbals. Youll
thank me in a decade or two when you can
still hear your phone ring
I never break a string!
I usually dont break strings - unless I dont
have extras. I change strings before every
service and I leave an extra set in my car
just in case I need them. Ever given an ex-
tra string to the other guitar player and then
have yours break? As they say in the data
world, if its not backed up in at least two
places, its not backed up
I can use any pick.
Its big, its made out of felt, and its nearly
impossible to play anything other than a
bass with it. OK so you can use a quarter,
HEARTLAND
WORSHIP
INSTITUTE
REAL
WORSHIP
Worship from the Heart
John 4:24
JULY 7-9, 2010
CAPE FIRST CHURCH
CAPE GIRARDEAU, MISSOURI
40 MAY/JUNE 2010 WORSHIPMUSICIANMAGAZINE.COM
but remember - you just gave your extra D
string to the other guitar player. Picks just
seem to be everywhere, except when you
REALLY need one. Id suggest taping one
to the back of your headstock, cause some
day, and that day may never come, Ill call
upon you for a favor - to borrow your pick
Of course the battery is new.
Know any bass players with active elec-
tronics? I love these guys, but sometimes
they just seem to think that since the bat-
tery worked when they bought their bass,
it always will. Of course, none of us have
ever had the power go out to our pedal-
boards, so just out of consideration for the
other guys, lets start keeping some extra
new batteries around in case they might
need them
I dont need an extra cable.
Yes, actually you do, and one day youll
find out why...
Of course I know what key its in.
OK, so maybe YOUVE never started a
song in the wrong key. Ive found that mark-
ing up the set list with the key or first chord
for each song is almost foolproof - as long
as I look at it
Im not really that loud.
I cant speak for you, but my amp has
two settings in the ears of many Worship
leaders - off or too loud. But seriously, let
the other guitar player play through your rig,
and stand directly in front of your amp twen-
ty-five or so feet away to see what everyone
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else hears. If you play with a 4x12 cabinet
at Church, try doing this on a semi regular
basis, just to get tuned in the the directional-
ity of your sound. Take appropriate action
with your volume control and your team will
thank you for it
Well get it right in the second service.
We serve an amazing God who loves
giving second chances. I do question myself
when Ive made sloppy mistakes - am I re-
ally bringing God my best? Faith not works,
I know, but I also know that practice works
too
I can leave my gear here.
Thats what I used to think until the thieves
broke in and stole my amp and footboard -
off of the Worship platform. It wasnt safe, it
probably never will be, so if you really cant
live without your gear, take it home
In closing, Id like to encourage each of
you to think about ways you alone can raise
the bar on what you do as you honor God
with your instrument. Too many times Ive
gotten caught up in what I was doing and
sometimes lost sight of why I was doing it.
Be Blessed!
Doug Doppler tours the
world as an instrumentalist,
has played on two Guitar
Hero video games, and
along with his wife Melissa
works to help worship teams develop their
gifts for the glory of God.
Je
Deyo
Kent
Henry
Gary
Brothers
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 The Band
By Tom Lane
What About The Yoots!
One of the things I do in life is work with
youth (yoots I like to call them!), its a passion
for both my wife and I. We run youth events,
camps, lead teams around the world. We
are truly inspired by them and many have
become some of our dearest friends.
What I love about young people is the
lack of religious baggage attached to their
creative expression. If theyve not yet been
told, you cant do it that way, then it
comes out naturally free and uninhibited; the
way I think God meant it! Needless to say
the language of music is powerful despite
the fact that the style and relevancy changes
from generation to generation. My hope is
that well embrace this next movement of
minstrels and artists and help them to lead
their generation to Christ. This needs to be
a huge focus in my book for any looking to
be a vital and thriving ministry in worship.
Theres a church Ive been going back to
down south for the last 8 years to lead wor-
ship. In that short time the 7 member youth
group has grown to 120 plus in their small
community. There were no musicians at first
and now there are bands, singer-songwrit-
ers, and worship leaders along with a lot of
sharp young leaders in general. This hap-
pened because the former Youth Minister
whos a lifelong friend, the Pastor, and a
group of parents at the church decided to
create a time and space for them to step into
their gifting and grow their talents. Theyve
not just built something for them but allowed
them to participate in the building and now
theyre a growing force! Ive learned a
lot from their model and seen it work over
and over throughout my friends youth min-
istry career. Though its obviously not only
about musicians and artists theyve clearly
produced a bunch of them and hes not a
musician at all.
For one we cant be afraid of the mess-
es and issues that come along with young
creative people. Theyre human like us all
and God does not demand they be perfect-
ed to be allowed to step into responsibility
or roles. My buddy is great at spotting a tal-
ent and giving them room to use it. This isnt
for all, but I want to challenge those who
think you only put the more mature or seem-
ingly together ones up front. Im not saying
make them all elders in your church but I am
saying let them play a song, run a mixer,
lights, powerpoint, etc. For some, all they
need is to feel needed to do anything or a
part of something.
In time the relationship is what earns the
right to encourage and disciple effectively.
We are not so great in The Church at letting
people get it by way of the Holy Spirit ver-
sus our telling them what all they should be
42 MAY/JUNE 2010 WORSHIPMUSICIANMAGAZINE.COM
doing and how exactly it should be done. the messengers are going to look and sound
We all struggle with being somewhat of a different!
mess and God specializes in cleaning up
the messy. So, invite them all, let them Theres a boatload of young musos in
come as they are-thats the Jesus Model! our churches and just like we did, theyre
Part of the deal is being willing to also watching their heroes and icons, studying
deal with problems and attitudes when they them and dreaming how they can do what
come but you can do that without driving they do. We have to step up and present
them on to someplace else. And thats the them with heroic faith, integrity, friendship,
reality for us Church, we have a few short leadership, and encouragement. Jesus is
years to influence them or we lose them to a not an alternative or religion, if they connect
World full of other opportunities. We have with Him as the Person and Lord He is then
to create opportunity for them! the fruit that comes out of that relationship
is what will enable them to be relevant and
Internships are a wonderful thing and a impacting.
big reason these guys have been so fruitful.
When people grow in skill level, faith, ma- So Lets not forget those Yoots, they need
turity, etc., they carve out a little job descrip- us!!
tion and give them more responsibility. One
such kid that Ive known since he was a runt, Nashville, TN is home
is now their new Youth Director. They men- for Tom Lane though he is
tored and trained him and then handed it off involved in ministry and mu-
to him. Thats an Apostle Paul model that sic around the world. As a
we need to see more of I believe. Theyve singer, songwriter and guitar
done it with a number of their worship lead- player, Tom has been teamed with many
ers and musicians whove also moved on to worship leaders and artists. He continues
pursue what God has for them. to record his own work, lead worship, and
writes regularly for various worship publica-
If we are willing to be inconvenienced tions worldwide.
and quick to befriend we can really help
steer the course of young talents. Programs
are becoming more of a bore to them; they
are drawn to life and friendship. If they feel
safe theyll trust you with the stuff of their
lives. Artists are already a misunderstood
and misfit tribe, its no wonder theyre imme-
diately fulfilled with affirmation and praise
of any kind. To intentionally deflate them
thinking were keeping them humble is a
more hurtful way to guide them. If theyre a
part of a healthy community where theyre
not high and lifted up but just normal kids
theyre more likely to be better grounded as
they mature. Thats in essence the role we
play as leaders in the Church. Serving and
facilitating doesnt mean accommodating
every need, we cant do the impossible and
thats why too many burn out. Mentors guide
and steer best out of true friendship, which
conveys youre in the battle with them not
just a boss.
Im going on record to say I think we
are going to see a new breed of Worship
Leader in the near future. Its not enough
too simply camp out in our own pep ral-
lies and give people what they want to hear
every week. The young people I know are
already saying thats not what they intend to
do. They do want to worship, they do want
to serve and be Godly, and they want to be
who they are. If History teaches us anything
its that styles change. What we now know
as modern worship wont be modern in a
few more years. Not to say songs lose their
meaning or impact, many will live on but
 Continued from page 34

Threshold: Set so there is about 6db on

the gain reduction meter.
Ratio: 4:1
Attack: 15 to 45ms
Release: 300 to 450ms, depending on
the song.
Output: Dont forget to make up the gain.

Acoustic guitar:
I like the acoustic to have a nice attack
but also to be consistent. Going from finger
picking to hard strumming will require a bit
of a threshold adjustment usually, but these

settings should get you started.

Threshold: Set so there is about 3bd on

the gain reduction meter.
Ratio: 2.5:1
Attack: 5 to 15ms
Release: 200 to 300ms. Give or take
depending on how fast the song is. You
should see the meter fall just a hair faster
than the natural decay of the note.
Output: Yup, you got it make up the
gain.

Remember, these settings are only guide-

lines. If it sounds bad, dont blame me, trust
your ears.

Oh, and that nasty myth I mentioned at

the beginning compressors shouldnt be
used to fix bad technique. Instead of slap-
ping a 5:1 compressor on that vocalist be-
cause he cant seem to hold the mic in the
same place, why not spend some time go-
ing over proper mic technique with him. Be
nice. A humble sound person who teaches
(and is also teachable) is the best kind.

Till next month,

John

John is an 18-year veteran

of the road. He was a frus-
trated Electrical Engineer who
hated college. Left school to
pursue a career on the road
as a drummer, ended up as a sound engi-
neer, and after being blessed to work for
many of the top level Christian worship lead-
ers including Chris Tomlin, Lincoln Brewster,
Shane and Shane, Paul Baloche, and many
more, has landed at a job as an audio en-
gineer for a design firm. He says, I guess
Mom was right, she always knew Id finally
got a real job. Check out www.EliteMul-
timedia.com and www.TechTraining101.
com for more about what John is up to.

44 MAY/JUNE 2010 WORSHIPMUSICIANMAGAZINE.COM

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 If youve dug into the Old Testament at all, especially 1 Chronicles and Psalms, its hard to miss the
importance placed on songs and worship. That concept is reiterated in the New Testament in both
Ephesians and Colossians, where it says to sing psalms and hymns and spiritual songs to one
another and to the Lord. Thats what came to mind after talking with Michael Farren, frontman for
Pocket Full Of Rocks. In fact, the phrase of psalms, hymns and spiritual songs really covers quite
well, the different aspects of music Michael has been writing for three albums now.
Aimee Herd: Previously your CDs have what God wanted for this album, and we phenomenal guys and theyve been very
come out of a place of spontaneity, was ended up writing 50 songs for it. I loved gracious and encouraging. Collaboration is
this new release, More Than Noise, it! I loved every session, every moment of a very different thing for those who are just
approached in the same way? just wrestling through lyrics and lines and getting into it. Youre kind of used to being
prayers and books. It also has to come from in your prayer closet, or alone with God,
Michael Farren: Very different. I love the somewhere personal. But, it was really neat or leading worship when those moments
spontaneity that you can find sometimes to watch these songs take shape when they hit. Then all of a sudden you find yourself
in worship settings, and thats the world I were labored over in a good way. Im so in a room staring at a guy that you dont
come from. Its where Im comfortable. But, used to seeing these spontaneous moments know very well. The songs we want to write
it doesnt translate very well commercially. take another life, but its really cool to also have to come from a very intimate place, so
Im not trying to be commercial, but there watch the ones that you didnt feel quite as very quickly, youre having to let your guard
is a broad audience that we would love to warm and fuzzy about [at first], become down with guys that you dont know that
reach as well. So, this album is very pointed something you feel really warm and fuzzy well, and try to write from an honest and
toward the setting of actually operating in about after. transparent place. Thats why
the craft of songwriting. it might feel a little weird
A good friend, Tony Wood, he told me at times. And then, there
For me as a writer, the Lord really had once, Michael, you write when you feel
challenged me to go there. The spontaneity are personalities that are
inspired, but I write until it IS inspired. It involved sometimes.
thing is safe and it feels very warm and really rocked me. That there are two
fuzzy to me. I love those moments. But, sides to this thing; the discipline of I can honestly say,
one of the gifts that God has given me it, andas a worship leader though, that I have not
is to be a songwriter. I had never really theres the sensitive side as well. had a bad co-write here
spent a lot of time honing that craft on Long answer, but its my favorite in Nashville. I have
a daily basis, the way some other thing to talk about. (Laughs) had co-writes where
writers do. So, three years ago, I you meet, your
started writing here in town with AH: Its great though, I can personalities are
other guys who really stretched hear the passion. Was different, you
me. It was iron sharpens iron. it difficult for you to shake hands,
But, it was a pleasure to sit make that transition have a
down and have these guys in songwriting? coffee, write
kind of kick my tail to be a a song and
better songwriter, and to MF: No, it was
a little awkward walk away.
be disciplined with it.
the first few
So, for this album, times, but Ive
we sat down and been writing
prayed, asking with some

46 MAY/JUNE 2010 WORSHIPMUSICIANMAGAZINE.COM

And then Ive had the other experiences
where you become lifelong friends. I was
blessed to have great writing partners in the
beginning, and were still writing [together]
for different things now.
AH: Well, I know the first single on this
new album, called Alive, you wrote with
Stu G of Delirious, so was that a writing
session where you just shook hands over
a cup of coffee, or was it a really good
one?
MF: (Laughs) No, it was a good one, we
became friends and have written a couple
songs since then. Stu was awesome, hes
just a gifted, talented guy. He is very
hard to get with though, so when I have
opportunities to write with him, I jump at
them.
AH: You wrote the song, Love Whispers
Your Name, with your teenage daughter,
Madison. That must have been a very
special experience.
MF: Yeah, it was a very special moment on
the album for me. As a parent, you hope
your kids will end up loving music as much
as you do. Sure enough, they do, and it
looks like theres a call of God for music in
their life and they seem very happyand
it scares me a little as well. (Laughs) But,
shes a great songwriter. Parents tend to
overblow the facts about their kids, but
Madison, who is just 15, is turning into a
phenomenal songwriter.
AH: Thats exciting.
MF: She sat down with me to write When
Love Whispers Your Name, and help me
hash out a verse. I wanted to write about
a topic that I really couldnt wrap my brain
around, but that she deals with, through
friends she knows. ...Kids that are troubled,
and that cut themselves... She helped me
kind of go there, for the story. A few weeks
ago, she took the stage for the first time with
Pocket Full of Rocks in our hometown. I
introduced her as one of the co-writers and
called her out on stage. That was so cool
to have my daughter on the stage with me
for the first time ever to sing the song. She
has a beautiful voice, and thats actually her
singing on the album. It was very special
moment for me.
AH: And for your wife, Alisa as well no
doubt.
MF: Oh yeah, that particular night Alisa was
standing side-stage with tears, watching our
daughter step into what shes built for. Our
youngest daughter who is 12, is coming
right behind her. Weve got a house full of
musicians. (Laughs)
AH: I love it! Im
a parent too,
so I understand
completely. Talk
about the song Let
It Rain, a song that
was born out of
spontaneity.
Its been
around
for a while, and has been recorded by
others, such as Smitty, but although it
originated with Pocket Full Of Rocks,
youve never recorded it. What made you
decide to put it on a record now?
MF: Its crazy. It actually was not supposed
to be on this album; it came more as
a directive from the labelone girl in
particular who just said, You know, Id love
for you to attempt a version of that. Wed
never recorded it though. We have one live
clip from long ago, and thats all wed ever
done with it. Honestly, every time we set
down in the studio to track it, it just felt like it
missed something. I would never even put
that song in my set lists, it was just kind of
that one that you pulled out in the moment.
It seemed like if I did put it in a set list, it
would go over like a lead balloon. That
song is not one that you just throw out there
all the time, its for a moment.
So, when they suggested doing it, we
were hesitant. Ed Cash, who produced the
album, had never heard the song before,
which we harassed him about. (Laughs)
Man, you must live in a cave on the other
side of Nashville if you havent heard it!
He said, Well, play it for me. So, Pocket
played our version of it there in the studio,
and by the end of the song he was leaned
back in his chair with his hands in the air,
worshiping. We were still skeptical about
using it, but he started
building a track, and
giving direction for it,
and everybody was
smiling at the end of
it. It was very cool;
its taken on a new life
MAY/JUNE 2010 WORSHIPMUSICIANMAGAZINE.COM 47
 POCKET FULL OF ROCKS and a Heart Full of Songs
for us. To every one of us it still feels like
it has something on it. That had always
been a fear of ours, that wed studio-track it
and it would lose something. But, it doesnt
feel that way to us. It didnt feel contrived
or forced. When we were tracking it,
Davidthe drummerwas in tears while
he was playing the drums for his take. We
were very grateful, [recording it] was an
unexpected neat moment on the album.
AH: I find it interesting that you began this
interview by telling me your comfort lies
in that spontaneity in worship, when often
its the opposite for worship teams and
artists. Can you speak a little to the value
of spontaneous worship, and how a team
can incorporate that more in churches
where its maybe not the norm?
MF: Honestly, its a tough one. Theres
really no set way. Ive seen teams where
everybody tries to go there and its chaos.
Then you have the other extreme where
no one is willing to take a step and see if
there is something to be said or sung. So, I
think it falls on the head of a good worship
leader who will take a chance. And, it
always relates back to private worship. Ive
said it a lot through the years that worship
leaders who worship in private have no
trouble leading worship in public. Theres
no switch they flip when they leave their
closet and step on stage. It just feels like
an extension of those moments in personal
life where youre singing your prayers, and
crying out in moments to God where no
other song [except what is coming to you
spontaneously] will fit. Its an extension of
that. It can take a bit to get used to. You
get butterflies in your stomach when you feel
the prompting of the Holy Spirit to lead off
in a lyric that previously has not been sung.
And yet, it has powerful results.
In reality though, not every church is going
to be open to it, and thats okay, you just
need to know your church. For nine years,
48 MAY/JUNE 2010 WORSHIPMUSICIANMAGAZINE.COM
continued
I was at a crazy charismatic church in Texas
and that was where a lot of those songs
[on previous albums] were written. We
had a lot of freedom from the leadership to
the people who attended. The church Im
at now is a young church plant thats only
3-years-old, and I hardly ever do that right
now. I think were going there [eventually],
but if I went there now, it would throw them
off completely. I think in times like that you
can go there very subtlyalmost sneak up
on themthey dont even realize that weve
caught a refrain, they just think the overhead
guy forgot to put the words up. (Laughing)
Basically, you just have to know where God
has you. And, always approach it from a
mindset of being a blessing to the Lord and
a blessing to people. The spontaneity part
of my world is very limited at the moment,
and I really miss it.
AH: Well, let me ask you this... Now that
youve done a couple records in the more
spontaneous style of birthing of songs,
and then with this latest one, where youve
specifically sat down and written and co-
written songs; what do you prefer?
MF: You know what? I prefer both, I really
do. I think both have incredible importance
and neither one is wrong. I was the one
who was limited; I had limited myself for
two albums, when I refused to sit down and
co-write with people. Who knows what
couldve come out of that. So, the next
album, I can assure you, will be a little of
both.
Its the oddest thing; I can write for other
people (Im a staff writer with Word
Records), and thats what I do when Im
home, day after dayI sit down and have
sessions where I write. But, the next album
will have a little of both on it.
It was a very moving moment for me... The
song Come As You Are; the first line is Hes AH: What would you say was the most
not mad at you... I wrote that with Chad
Cates and Tony Woods. I just walked in
with the first few lyrics and said, Guys,
this is what I want to say. We went to
write it, and it was laborit was a labor
of love. I didnt feel goose bumps; it was
just crafting a song. It was a process of
writing, but then one week later I did it live,
and people flooded the altars. So, it was a
really neat moment for me to see a song that
you labored over, and didnt feel warm and
fuzzy and spontaneous about [in the writing
of it], have the same effect on the audience.
It was a real eye-opening thing for me that
it takes both.
My wife says that in those spontaneous
moments, Im not a song writer, but a song
receiver. She told me once, Youre not
writing that, youre receiving it. I think
shes right. In one instance youre a song-
crafter, and in the other instance, youre a
song-receiver. Both are powerful; we have
to work at both, because they both take
discipline.
AH: You play piano/keyboards and
guitar, so what do you prefer to use when
writing a song?
MF: Whichever one Im not burnt out on!
(Laughs) That really is how I work, I go back
and forth constantly. I have a piano in my
dining room, and six acoustic guitars laying
around the house, all tuned to different
tunings. Now that Im writing every day
for other projects as well, its just a practical
way to keep from getting burnt out on any
one instrument. Ill pick up a guitar thats a
different tuning and it sparks melodies in my
head, and then Ill go back to standard and
capo it up high, and that will spark other
melody lines. Or, Ill be stuck on piano
for a week and a half, where everything I
write Im hearing it on the piano. Its just not
locking yourself into something thats going
to limit your creativity. I keep a lot of options
laying around. I do have a mandolin that I
cannot play, but Ill dink around on it and it
sparks some ideas that are fun to play with,
you never know sometimes where a song
will come from.
AH: And, you can always have Ricky
Scaggs come over and play your
mandolin.
MF: (Laughs) Oh yeah, absolutely! Actually
there was this one song that almost made
this album called, The Sound of Your Voice...
(youll think Im crazy) I wrote it in a dream.
I woke up and the whole song was written
in my dream. (Laughs) I recorded it, but it
was already written!
AH: Oh wow, thats pretty amazing.
MF: It doesnt happen a lot, but Ive got
about half a dozen songs that were sparked
in part or in whole from a dream. The older
Ive gotten the more Im learning to roll my
butt out of bed and grab a pencil and write
it down. As humans, I think we always
want to put everything in a box, but with
songwriting you cant. Just be disciplined,
and allow it room to breathe.
impacting songwriting session you had
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 POCKET FULL OF ROCKS and a Heart Full of Songs
during the formation of this album?
MF: All the guys I wrote with on this album
have become pretty close friends to me and
still are. And, you kind of know halfway
through a song... were onto something
here. Come As You Are was one of those
songs, written with Tony Wood and Chad
Cates. About halfway through we said,
You know, this is the kind of song that God
can really use. We felt it was a song that
people need to hear.
Theres a song called, Jesus Died My Soul to
Save; I wrote two verses and a chorus, and
called my friend Matt Boswell, a worship
leader in Dallas, he is a young-old soul and
he writes in this hymnish fashion. I called
him up and said, Ive got this song that
Im writing, I need a bridge and one more
verse... He hears it and flips out and sends
it back, and as soon as I hear what hes
written for it, I knew instantly that it was a
great song for the corporate Church.
Its hard to define what the impacting
moments were; obviously having my
daughter there was one. Overall I was just
blessed to get to write with people I really do
adore. Theyre my heroes and my friends,
and out of 50 songsI kid you notthere
wasnt one song that I didnt want on the
album. Thats how good these guys are.
Picking 11 out of 50 is a real pain! Now
were trying to figure out what to do with the
others, because we didnt write them to be
wasted. But thats what the publisher does;
tries to find homes for them.
AH: Michael, youve referred to yourself
as a ballad guy, can you talk about
some of the most important elements when
writing a ballad, for songwriters who
would like to give that a try?
50 MAY/JUNE 2010 WORSHIPMUSICIANMAGAZINE.COM
continued
MF: Be incredibly, brutally honest. Im
learning, as a ballad guy, what usually
strikes people in a ballad is the honesty of
it. In doing so much writing outside of my
album, now Im the guy that other artists are
coming to [to write for and with them]. And I
tell them, What is your heart saying? What
do you say when youre on the stage...?
And, theyre reply is usually [what becomes]
the lyric, and they didnt even catch it.
Theyll say, Were really passionate about so many ways to phrase things in the English
blah, blah, blah... and that blah, blah, blah
is usually the lyric. When I sing it back to
them, theyre like, Oh... oh okay. With
ballads, I think you can over think them.
In the secular world, Im a huge fan of
the old school balladeers; Billy Joel, and
all those songwriters... they were honest,
whether positive or negative, they were
honest. Other people have different takes
on what it all means, what a ballad looks
like or how to form one. For me, I just think
people, even non-musical people, resonate
with the lyric that they sense is coming from
somewhere transparent and honest.
AH: I want to see two ballad-guys come
together; I want to see you write a song
with Mark Schultz.
MF: Oh... that would be amazing. Hes
one of those guys who can tell a story, and
he does just what I described. He takes a
real-life thing and writes about it. He drives
home that point of being really honest with
the lyric.
I love artsy stuff, I really do. I love the
cool, artsy singer-songwriter stuff that
nobodys ever going to hear. I can go to
the songwriter places here in downtown
Nashville every night of the week and hear
the most amazing, intriguing songs. But, the
reality is, the Church at large and the radio
audiencethats not what they want to
hear. They want to hear the songs that lead
them to worship, or songs that encourage
them and help them make it through another
day. You cant over think that. Pocket has
been blasted in reviews, even for this new
album, that its clich and trite and saying
the same things over and over again. And I
say, Yeah, thats the point. There are only
language, and at the end of the day, your
job is to encourage people, or lead people
deeper into relationship with God, or to give
them a song that lets them express adoration
and worship. You cant over complicate
this, its writing for people. One day I will
do a solo album of all the weird, quirky
stuff that I love to write, and I promise you
it wont have any effect compared to what
we do with Pocket. It takes both. More and
more, Im learning to embrace a broader
world, and all that God can do.
Recently, I did some songs at the Bluebird
Cafe here in Nashville. Theyre songs that I
would never do on stage with Pocket Full Of
Rocks, but for that night, it was exactly what
the night needed; artistic, weird, quirky
songs. Then, Im back in the bus, headed
for worship land the next day, but thats
the way I like it.
AH: Its nice to have that outlet for the
artsy stuff though. You mentioned before,
having a piano in the dining room and six
acoustic guitars lying around, can you tell
me what your preference in gear is?
MF: I use the Yamaha CP300 Stage Piano
for my main keyboard. I dont do a lot of
patches, I just need a great piano. Its the
best unit Ive found, for the feel and the
sounds you get out of a stage piano. I use
Avalon Guitars, theyre made in Ireland. I
was actually turned on to Avalon through
Matt [Kees] and Bruce [Adolph]. I was then
endorsed by Avalon at one of the CMS
events, so Ive been playing them for a
couple of years. I also have old Guilds and
old Yamaha guitars hanging around that I
love, but thats it, Im not a picky guy. I dont
haul around a lot of peripheral stuff at all.
The other guys in Pocket are gear-junkies,
though! (Laughs)
AH: Any specific plans for the future for
Pocket?
MF: Well, whenever you have a new album
out, its just traveling, traveling, but thats
what you do. It sounds trite but the demand
goes up when you have a new album out,
and the phone starts ringing, but, its a good
thing. We are blessed. Were worship
leaders and worship writers, thats what our
hearts beat to do. Radio has been kind
to us, and that has opened up a whole lot
more of the traveling itinerary. No matter
what the stage is, were just trying to be who
God called Pocket Full Of Rocks to be.
For more info on all things Pocket, visit:
www.pocketfullofrocks.com

By Martin Stillion
Playing the Mandolin: Setup Jobs
Have any of the following ever happened to
you?
1. You notice that your old standby mandolin
has become harder to play, doesnt seem to
have the tone or volume it once did, or has
developed a buzz or other problem.
2. You grab a great bargain on a vintage man-
dolin from eBay or Craigs List, and when the
mando arrives you wonder how anyone ever
played it: it wont stay in tune, theres a mile
between the frets and strings, or it has a bad
repair.
3. You get a brand-new mandolin named
after a city in Texas, but built in a factory in
China, that looks nicebut when you play
it, your fingers hurt (and so do your ears).
4. Another player lets you try out her instrument,
which has a highly respected brand name
on it, but tells you there are things about
it she wishes she could change. And you
agree.
Ive actually had all of these experiences in the
past few months (well, except for number 3Ive
learned to stay away from those mandolins!). And
in every case the solution is the same: the instru-
ment needs a setup job. This is not a bad thing; it
happens to every mandolin eventually. Specialty
shops usually set up mandolins before selling them,
but big-box retailers and some Internet dealers
might not. Rule of thumb: if your mandolin literally
comes to you out of the box (i.e., in one of those
trapezoidal cartons with the makers logo), you
should assume it was never set up, and have it
checked out before you try to play it. A setup job
Continued from page 33
Thanksgiving, Petition, Obedience, and Celebra-
tion. During the worship through obedience gath-
ering, we explored the ideas of justice and fairness
- how those play out in generosity and service, and
what it would like for us to put some muscle into or
worship, to back up our words and prayers with
action. I had the idea of attempting some kind of
service project for the camp. It turned out that they
needed a 30 foot long, 1,500 pound workbench
moved from one shop to another...300 yards...
through the snow. If we could help with this, itd be
a huge blessing they said. We agreed to make it a
part of our worship, and instead of singing a few
songs in a nice, warm auditorium, we put on our
boots and headed out into the weather.
The camps hosts had fashioned beams going
under the long bench so that each student had
a hand hold. We remembered the Israelites and
the Ark of Covenant. We laughed, sized up the
job, cheered each other on, counted to three, and
lifted! It was hard work, but nothing could wipe the
smile off our faces! It took all we had to get that
table to its new spot. We were spent! Our aching
arms, legs, and backs proved the effort (and to
think theres actually a computer program called
EASY WORSHIP). We cheered. We celebrated.
wont turn it into a Gibson Master Model, but it can
spare you a lot of frustration.
Im far from being an expert on setupswhich
is why I always let someone else do them for me
but here are some of the problems that a setup job
can fix:
Intonation
When your strings are in tune but the notes
youre playing on them are not, somethings wrong.
The bridge could be out of position, or it could be
improperly compensated. The neck might need an
adjustment. The strings could be dead. Or there
could be a problem with the fretboard. Speaking
of which
Fretboard issues
Sometimes I think theyre called frets because
they can give you plenty to worry about. But if
youre going to spend a lot of time mashing your
fingertips against tiny metal bars, you should take
steps to make the process as comfortable as pos-
sible. Frets that feel sharp under your fingers need
to be properly crowned. Frets that arent level may
result in dead notes on the fretboard, i.e., notes
that dont sound because a particular fret is too
high or too low. Sometimes the fretwire can be
slightly bent at the ends, which can cause intona-
tion problems or even catch your E string after you
push down on it. A good fret job involves making
sure the frets are straight, properly seated, uniform-
ly high, and comfortable to play on.
In some cases, a fretboard develops too much
relief or a humpa spot where the wood of the
And afterward, we even carried a few lighter
boards on the way back. Now thats a picture of
God-pleasing praise!
How about for you? Is there an action step you
could make toward justice and fairness in your life?
Could you take that step today, tonight, this week?
I didnt regret one second of this service, and I
doubt Ill ever forget it. Did I get to share some of
the songs Ive been working on and preparing for
years? No. Did we cry, get goose-bumps, or expe-
rience warm, tingly sensations as a band played?
Not exactly. Our footsteps created the rhythm, our
voices shouted a crude, spirited melody, and a
beautiful song rose to the heavens. We obeyed.
We served. We gave. We offered a real, one
of kind gift to God, a sacrifice, and I KNOW He
loved it. And how am I so sure? Because thats His
favorite kind of worship.
Justin Fox is a touring songwriter,
worship leader, author, and record-
ing artist. He lives in Southern Cali-
fornia, close to a Peets Coffee, with
his family of six - Find out more at
www.JustinFox.com
WORSHIPMUSICIANMAGAZINE.COM MAY/JUNE 2010 51
Mandolin
fretboard itself is warped. Sometimes this can be
fixed by adjusting the truss rod; sometimes a luthier
will need to pull the frets from the problem area,
plane it down, and replace the frets. And finally,
if the frets are so worn that you cant play a note
cleanly, then its time for a full fret job. Id classify
these procedures as repair rather than setup,
but still, my money was well spent.
Frequent string breakage
If a particular string breaks more often than
others, it could be due to the string binding up
somewhere along its path, such as in a slot on the
bridge or nut that isnt properly cut. Or it could be
hitting a burr or sharp edge in the metal of the
tailpiece or tuner.
Action
If your strings are too far off the fretboard, or not
far enough, youll have difficulty playing. A techni-
cian can adjust the action by raising or lowering
the bridge, the nut, or the depth of their slots. If
you want to know whether a particular technician
is experienced enough to work on your axe, ask:
Whats your preference for the action at the 12th
fret on a mandolin? If you dont get a reasonably
immediate, confident answer that is very close to
four sixty-fourths of an inch, then you should prob-
ably keep looking.
Mystery noises or tone problems
A buzz or a muffled sound can be something
benign, like a loose tailpiece cover or poorly fit-
ted bridge, or it could be something deadly seri-
ous, like a loose top brace. Dont ignore it; have
it checked out.
Hardware troubles
Sometimes a bridge, tuners, tailpiece, or other
item of hardware just isnt doing its job and will
need to be upgraded.
Barring a major problem with your instrument,
a standard setup job should consume about two
hours of labor, tops, plus new strings and/or parts.
If you need help finding a technician, try asking in
the Forum section of mandolincafe.com.
Trivia question:
(I had run out of these, but heres one thats too
good not to share.) Which fast-food tycoon was so
impressed by an elementary-school mandolin band
that he bought new instruments for the whole group
and sponsored a recording project, resulting in an
LP titled Favorite Old Church Hymns?
Multi-instrumentalist Martin Stillion,
a 15-year veteran of worship bands,
plays at Seattles Bethany Presbyte-
rian Church. In his other lives hes a
husband, father, writer, editor, Web-
master, composer, and musician. Learn more than
you wanted to know about Martin at www.stillion.
com/martin or www.emando.com.
 Lighting
Theyre more like guidelines than rules.
I got a one-day pass from the Cant
Say NO! To Anyone Who Asks For Help
Recovery Center, so I thought Id take a
moment and share a few thoughts about
building and upgrading church lighting sys-
tems. Recently I attended a childrens drama
where they plugged a 1K follow spot into
the single circuit (uh-oh) in their sound booth,
blowing both the spot and, unfortunately,
the audio as well. Luckily, as they reported,
it happens all the time, so they were able
to quickly reset the breaker! Life is too short
for that kind of stress. Whether designing a
lighting system for new construction, retro-
fitting an existing worship space, or simply
adding some new lights to your rig, follow-
ing a few simple rules can save a lot of
headaches later, and will help guarantee a
great performing system.
FOLLOW A MASTER PLAN
Unless you have specific expertise in AV
system integration and are current on the
newest tech advances - not just in lighting
but in the other areas of AV as well - please
get some professional help when youre
thinking about upgrading your lighting sys-
tem. There are key questions that need to
be asked long before purchase and installa-
tion. Your system should be efficient (power
consumption, lamp life, ease of mainte-
nance); inviting (aesthetically draw people
in); integrated (cooperate well with itself
and other systems); intentional (free you for
present vision and not limit future dreams);
and be scalable. This is a tall order, but
there are people that can help you achieve
all these goals.
Many factors play a role when planning
a lighting system for a house of worship. Be-
yond creating an atmosphere for corporate
worship, the lighting should support all the
other activities that may possibly occur in the
space: reading, sports, viewing video, the-
atrical productions, video taping or broad-
cast, meetings, maintenance, emergency
situations, etc. There should be collabora-
tion between your house lighting (the room
lights) and environmental lighting (every-
thing else that helps create the experiential
environment); they should be designed to
create synergy together - something greater
than the sum of the individual parts.
52 MAY/JUNE 2010 WORSHIPMUSICIANMAGAZINE.COM
By Greg Sisley
I really encourage you to get professional
guidance for any tech upgrade or change.
From the simple question of What if we
moved the projection screens over there? to
the more exciting Lets do the U2 360 light
show in our church, your response should
be the same: get some help. AV consulta-
tion is a specialized field, and these people
know what works and stay current with de-
veloping technologies. At this stage, you
are looking for a master plan. Then, when
you are satisfied with the plan, go shopping
or get your bids. The guy who sells the gear
isnt necessarily the best person to ask what
you need. Larger AV integrators offer both
design and sales. Ministries like the House
of Worship Resource Team (howrt.com) will
guide you for free.
Integration of the lighting with your audio
system, video projection with its accompa-
nying lighting needs, wiring, and location
are also high priorities for consideration. Its
tough to look at those speaker-shaped shad-
ows on the walls, not to mention house lights
that shine directly on the projection screens.
A lighting system you can hear through the
main PA will make you lose sleep. Cor-
recting these types of issues afterward is
ALWAYS more expensive than preventing
them beforehand.
An AV master plan provides the perspec-
tive to see how all the pieces of the complet-
ed project will interact. Besides being an
intentional plan to accomplish your ministry
goals from a technological, organizational,
and relational standpoint, it can serve as
a common reference point for all decision
makers and systems. Get some help to cre-
ate your master plan and follow it. If it is go-
ing to be accomplished in phases, review
and update it regularly. Dont let your church
be limited by poor decisions made previ-
ously. Let people skilled in building you an
AV integration roadmap walk you through
the process. If they are good, youll even
have fun doing it!
MAKE IT SCALABLE
A system whose performance and capa-
bility improves after adding equipment is
said to be a scalable system. Scalability is a
word we use to describe a lighting systems
ability to be readily enlarged and to handle
either increasing use or complexity with
ease. In a church lighting system, it refers to
the ability to add more fixtures, to grow as
you grow (in quality, equipment, skills, and
expectations), and to create more complex
and intentional lighting effects. For example,
lets say you decided it would be cool to
add some LED color wash over the congre-
gation. A dozen fixtures at fifteen channels
each will require power, hang-points, data
connection, and a bunch of DMX channels.
If you planned for scalability, this expansion
is easy, because you have the extra circuits,
your rigging is flexible, and your controller
expands.
Nearly all developing lighting techs are
designed with scalability in mind. Most con-
trollers come loaded with updatable librar-
ies of the most popular fixtures; this allows
easy addition of new instruments to your
lighting arsenal. They also supports mul-
tiple DMX universes (512-channel groups
of lighting control). Low power-consumption
fixtures, wireless control, and higher effi-
ciency lamps promote scalability. A good
IT (intelligent lighting) fixture can replace
several incandescent fixtures, and provides
an enormous boost in flexibility for variable
color, edging, patterns and texture.
Lastly, I encourage you to follow the
Masters Plan. Pray about your lights. Re-
ally. I can think of at least three appropriate
moments for prayer: (1) before you start,
pray that God will guide you to whatever
it is He wants to see happen; (2) during
the process, pray that you make good de-
cisions, and (3) afterwards, pray that your
lighting system enhances the message that
God loves people and wants a relationship
with them. Whether working, rehearsing, or
performing, its all worship and at the end
of the day, its all about Him. Use every re-
source you can find to make the worship en-
vironment the best you possibly can. If you
need any help, e-mail me at greg@howrt.
com. Peace.
Greg Sisley is on the pasto-
ral staff at Faith in Kent, WA.
He does lighting design and
consultation with PRO Lighting
and Sound, and is a member
of the House of Worship Resource Team.
 Jeff Deyo
PWI Founder
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 A Few Moments With
By Manuel Luz
How Many Lead Singers Does
it Take to Change a Light Bulb?
How many lead singers does it
take to change a light bulb? One.
The lead singer holds the bulb, and
the world revolves around him.
Recently, I was talking to someone new
to the Christian faith. Which is also to say
that he is new to the evangelical Christian
subculture. He knew that I was a worship
and arts pastor, and so our conversation
eventually drifted to the weekend services
at his church. In the conversation, he said
something that jolted me momentarily. He
referred to the person leading worship at his
church as the lead singer for the band.
54 MAY/JUNE 2010 WORSHIPMUSICIANMAGAZINE.COM
At first I wanted to give him the benefit of
the doubt. After all, he was a new Christ fol-
lower, and without a Christian background
to give you a frame of reference, the obvi-
ous equivalent phrase to worship leader is
lead singer. So I was pretty sure he didnt
mean anything by it.
But that got me thinking nevertheless.
What was his experience of his church ser-
vice? Was he experiencing worship? That
is, was he being led to an encounter with
the Living Triune God, and responding to
that encounter in a transcendent way? And
if so, what was the role of the worship
leader in the actual leading of worship?
One thing I knewmy friend was ex-
periencing some really good music in
his services. And the truth of the
matter is, music and all the arts
are transcendent by nature.
The arts take us some-
place, spiritually as well
as emotionally. Art is,
as Jeremy Begbie as-
serts, capable of
affording genuine
knowledge of
reality beyond
the confines
of human
self-con-
scious-
ness. Just go to a rock concert and watch.
People are being ushered somewhere. The
question is, to where are they being moved?
Ive been a lead singer for a number of
bands over the years. I know what the role
entails, and what is expected of it. And I
dont see anything wrong with being one.
But I shudder to think that some people might
experience me as a lead singer when my
role and calling in church is to be a wor-
ship leader, to serve my congregation and
lead them to encounter and glorify God.
A. W. Tozer tells a story that goes like
this: Jesus fulfilled scripture when he rode a
young donkey into Jerusalem (John 12:12-
16). The great crowds came to meet him,
taking palm branches and spreading them
out before him, praising his name, shouting
Hosanna! Hosanna! The donkey, looking
around at the crowd, then thought to him-
self, Wow! I must really be great!
In the grand scheme of things, I have to
remember that as a worship leader, Im just
the donkey. Our role is that of a servant. We
are to lift up Jesus, and allow our congrega-
tions to come before Him, so that they might
lift him up as well. As worship leaders, we
must never forget that.
Because theres a big difference between
a donkey and a jackass.
Manuel Luz regularly leads
his church in worship in
Folsom, California. We
highly recommend
his book, Imagine
That: Discovering Your Unique
Role as a Christian Artist
from Moody Publishers,
imaginethatluz.com.
 Over 12 hours of musical training and
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