Improving Musicianship | Inspiring Talent

Chrissy Shefts
The Passion of Playing

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Review:
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An Interview with Kevin Young
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THe STrInG experTS

 Features
9 Bassic Communication
Intro to Solo Bass
CONTENTS
Arranging (Part 3)
10 Drumming Dynamics
A Good Teacher is Interviews
Priceless 20 Ricky Skaggs
The Day the Press 11 Vocal Coach’s Corner
Eight Days A Week
Where Musical
Tributaries Flow
Machines Stood Still…
For one day recently the presses stopped at my printer in Tacoma,
12 Guitar Workshop
New Year’s
WA. The patriarch of the family business at J&D Printing – John Vitz- Resolutions?
thum, was laid to rest at 79 years old. 14 Show Us Your
I first met John when I moved from Southern California to Puyal- Groove
lup, WA in 1989. I was out mowing a large lawn on the corner house Giving 100% in
that my first wife Teri and I had just moved into and my little lawn Music, Ministry
mower and I were getting quite a work out filling several yard bags full
& Life
of cut grass. John lived kitty-corner from us across the street and he
ambled over to me and said, “Would you like to borrow my mower?
16 Product Review
It will get the job done easier”. I reached out my hand and introduced PRS Sweet 16 Guitar
myself to him. His wife Delores and Amplifier Head
John became good neighbors and 18 Product Review
friends. I have known them for over 20 UAD-2 Quad DSP
years now. Accelerator Package 30 Disciple
I soon found out he and several of 26 Selective Hearing An Interview
his sons ran a print shop he had start- John Francis with Kevin Young
ed in Tacoma years before. Little did I
Phil Keaggy
know then, that just a few years later,
I would start this magazine and they
Trio
would be my printer for 16 years and Third Day
counting. The relationship a publisher 34 Ask Joe
has with his printer is vital. The way 37 Guitar From
that J&D Printing has taken A2Z
care of us, with two magazines, Multi-task
our Christian Musician Sum- Harmonized
mit programs and our concert promotion materials has been Scales
stellar… coupled with their trademark generosity and integrity.
38 Essential Music
They are a Christian based business that has gone the extra mile
for us quite often.
Theory for the
When Teri passed away due to pancreatic cancer Delores Christian Musician 42 Chrissy
would show up at dinner time bringing over hot meals for my 10 Steps to Effective Shefts
sons and I. After John’s funeral service I leaned over to Delores Practicing The Passion
and told her, “I owe you a few hot meals”. 39 Do You Know What’s of Playing
Judy and I just live within two blocks of John and Delores’ Wrong
house. They were married for an amazing 55 years and have With Your Song?
been part of a local church family here in Puyallup for decades. 46 CODA
I will always remember John for his helpful attitude and
Community: Life Blood
sense of humor. He had a great laugh that you could recognize
anywhere. Judy knew John as a man with a quiet strength and
for the Songwriter
a work ethic that reminded her of her own father Elmer (who
went to be with the Lord over a year and a half ago to pancreatic

Christian Musician
cancer as well). Also both John and Elmer served in the Korean
conflict and we give honor to them both for serving our country.
When Delores was asked how she was holding up she
answered, “The anchor holds”. What a wonderful statement of
faith. 4227 S. Meridian, Suite C PMB #275, Puyallup Washington 98373
So to John we would say, “Rest in peace friend – you will Phone: 253.445.1973 Fax: 253.655.5001
be missed here in Puyallup by all who knew you… but we look Email: bruce@christianmusician.com
forward to a heavenly meeting on the other side. Oh yeah, and Website: www.christianmusician.com
thanks for all of those Seattle Mariner’s tickets over the years!” Editor & President: Bruce Adolph
Judy and I would request that you Vice President: Judy Adolph, judy@christianmusician.com
keep Delores, her family and my favor- Customer Service: Brian Felix, brian@christianmusiciansummit.com
ite printer in prayer. Thank you! Street Team: Mike Adolph, Jesse Hill & Caj
Layout: Matt Kees Accounting: Debi Davis
In His Grip… Advertising Sales: bruce@christianmusician.com
Bruce & Judy Published by the Adolph Agency Inc.
7
Spreading the Word
“Players at my clinics and concerts are
always floored by the tone, punch,
clarity and headroom of my GK.”

Norm Stockton
Lincoln Brewster

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See us
at NAMM
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POWER TO GROOVE
www.gallien.com
Intro to Solo Bass Arranging (Part 3)

Let’s get back to our introductory look at
solo arranging for bass!
I hope you’ve had a chance to immerse
yourself in the past few installments of Bassic
Communication as we’ve focused on the
melody & harmony that will lay the ground-
work for our pending arrangement of the
traditional Christmas tune, Angels We Have
Heard On High (Gloria).
We’ll be looking at the 2nd part of the
chorus section this time. The last time we
were together, we focused on the familiar,
“Gloooooooo-ria” part, so today we’ll be
covering the “in excelsis Deo” line that fol-
lows it.
For those of you just joining us, by the
way, you’ll find both the default applicable
instructional DVD or Level 1 of my online
courses (or any other resource you can find
that illuminates basic diatonic harmony in a
practical and understandable way).
Anyway, you’ll notice that the chord
motion for the first measure is very “hymn-
esque” in it’s chord-change-every-note ap-
proach. Those of you who are starting to con-
vulse just a bit (as you reflect on your years
of reading down hymns on Sunday morning
while attempting to make them groove) –
please hang in there…it’s actually kinda cool
this time…in a “traditional Christmas tune”
way. :^)
The 2nd measure resumes our earlier con-
vention of changing chords on the ½-note.
Those of you who’ve had some experience
liberties if you are so inclined! I preferred the
sound of G#- in this particular version…but
if it irks you, feel free to rebel and create your
own version using E/G#. :^)
Get your head and ears around this and
we’ll start working up our actual solo bass
arrangement next time!
(Adapted from curriculum in the Grooving
for Heaven instructional DVDs)
Norm Stockton is a bassist/clinician/solo artist
based in Orange County, CA. He spends much
of his time touring and
recording with worship
artist Lincoln Brewster, but
his 2nd solo project (“Tea In
The Typhoon”) has been

Bassic Communication
scale and the intervals found in the melody
(relative to the underlying chord) in the text
with arranging will probably notice that the
G#- chord we’ll be utilizing on those first
receiving widespread acclaim
from media around the

Intro to Solo Bass Arranging (Part 3)

above the staff. If you have any questions two beats is commonly an inversion of the world. Visit Norm at www.normstockton.
about any of this, I encourage you to check I chord (E/G#) instead. That’s the beauty of com and on Facebook & Twitter for much
out either the mode section from my 2nd arranging a piece – you can take some artistic bass-related info and fun. While there, be sure to
check out his blog (The GrooveSpot) and register
for his e-newsletter (the groove update) for tips,
Melodic/Harmonic Analysis: Chorus (2nd Section) interviews, clinic invites, exclusive discount
"Angels We Have Heard On High" (Trad. Christmas Carol) prices, and more.

Chordal Walk-Up Arr. Norm Stockton

E Ionian, F# Dorian,
G# Phrygian, A Lydian G# Phrygian B Mixolydian
"Roots" "Root" "5"

   
E F#- G#- A G#- B
    



13 14 13
14 16 16

© 2009 Stocktones Music

9
 A Good Teacher is Priceless

The other day I was cleaning and I ran struction is priceless. I want to encourage you David currently tours with
across a notebook filled with my old les- all to find that perfect teacher and continue Fernando Ortega and has
son plans from my days of instruction with to keep growing and learning no matter what worked with Sara Groves,
Richard Wilson. I was amazed at some of your age or ability. Bebo Norman, Crystal
the exercises he created for me. Richard had Below are a few of the exercises Richard Lewis, Cheri Keaggy, Tommy
the ability to push me to places I couldn’t produced for me. Each lesson plan was hand Walker, Paul Baloche among
imagine. written, created on the spot and always very others. He has played for Billy and Franklin
Finding a teacher that opens you up to different from the last. He had the ability Graham Crusades, Harvest Crusades, Maranatha
new ideas, encourages you and helps guide to find was to challenge me over and over Worship Leader Workshops and for over 2 years
you to new musical frontiers is the best way again. I hope you enjoy this small sample of he was the house drummer for the Los Angeles
to improve quickly. Richard did all of that the hundreds of exercises I have from old les- production of The Lion King. His home church is
for me. I think it is safe to say I would not be sons. I hope to someday get them all neatly Plymouth Church in Whittier, California. www.
a professional drummer if it were not for his notated like these. Richard passed away years DaveOwensDrums.com
guidance. He changed the way I played drums back but what he taught me will always stay
and the way I thought musically. with me.
There is so much we can learn these days Blessings, David
just using the internet but one on one in-

A    
                                     or
            or
R L R L R R L L R L R L R L R L L R R L R L R L R L R R L R R L R L R L R L L R L L R L
L R L R L L R R L R L R L R L R R L L R L R L R L R L L R L L R L R L R L R R L R R L R
                
 
   
                                    or
            or
R L R L R R L R L L R L R L R L L R L R R L R L R L R R L R L R R L R L R L L R L R L L
L R L R L L R L R R L R L R L R R L R L L R L R L R L L R L R L L R L R L R R L R L R R
               
 
B
                      
                  
 
 LR R L LR R L L R RL L R RL L R R L LR R L RL L R RL L R R L LR R L LR R L L R RL L R
          
 
C            
                   
  
                   
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LR L L R R L R R L L R RL R R L LR L R RL R R L L R L L R R L LR L L R RL R L
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10
 Awhile back I read Michael Gladwell’s
book entitled Outliers. It was a fascinating
read and well worth my time and money.
One of its many stories discussed the Beatles
performing experiences while based in Ham-
burg, Germany. This intriguing story got me
thinking about vocal performance and what
is required to really get good at it.
During the time that I pondered the
performance question, a young lady came
into my teaching studio that simply wanted
to get better as a singer. We worked together
a few weeks when she came in and informed
me that she was entering a singing contest.
We prepared a piece of music, worked on it,
and decided to go with it. When she arrived
at the contest site, she promptly froze up.
She started to weep and could not enter the
building. It wasn’t going to happen. But then
she saw one of her classmates go in and that
caused a change of thought. This charged
her competitive juices and she dried up the
tears, entered the building, sang her song,
and finished third; two places in front of her
classmate.
What happened? Why the melt down?
There was nothing in the building that was
going to hurt her. I doubt that there were any
of the judges who wanted her to sing terribly
and fail. So what was it? Her brain started to
go way off track and created thoughts that
were terrifying and untrue. I wonder if we
had taken her pulse if it would of have been
in the plus 150 range. Who knows? What the
student needed and received was a stimulus
that directed her thoughts to the task at hand
and that was seeing her classmate walking in.
Sometimes it doesn’t take much.
After this episode, the student was in
several more contests and didn’t place in any
of them. She was taking it in stride but was
somewhat frustrated and couldn’t commu-
nicate what was happening very well. Well,
this summer she invited me to observe her in
another one of her contests. Yeah, she does a
bunch of them. I decided to go and observe
her in this competitive environment.
As soon as she took the stage it was
absolutely obvious what was happening. She
Eight Days A Week
wasn’t concentrating! Her eyes told the whole
story. She was looking up, down, left, right,
zig-zagging and examining the ceiling. She
did everything but concentrate and focus on
her vocal performance. She didn’t win, again.
At the next lesson we went to work on
this issue. The first thing we did was focus
her eyes on a single point as she sang. That
was very difficult but when I felt she could
control her eyes a bit, we moved to three
points, left, center, and right. That was not
easy for her to do either. But she finally got
things under control, and promptly entered
another singing contest. She did not win that
one either. Was she failing? Hardly. She has
kept at it and just a few weeks ago performed
at her schools talent show and won it as a
freshman. Then three weeks later, she audi-
tioned and got the lead role in the school
musical. She didn’t quit but she did add some
performance practice to her schedule.
Successful vocal performance rests primar-
ily on how singers think. Think correctly and
the appropriate action will result. You must
think well during the actual singing perfor-
mance. Proper thinking during a vocal perfor-
mance is a very real skill. And keep in mind
that vocal technique and performance are not
two separate things. They exist together.
Performance is perhaps one of the few
times in a person’s life that they are totally in
the moment. It is now! That is why some of
my collegiate singers, after their junior and
senior recitals, come up to me and exclaim,
“It seemed to go by in an instant.” In their
mind, maybe, but not the audience’s. They
were in the present, the now! It was an in-
tense time in their life.
The only reason a person sings is to com-
municate the meaning of the song. Singers
must trust their vocal training and let it take
over during the performance, so they can
apply all of their mental energy to commu-
nicate the essence or meaning of the song.
11
All singers crave that feeling and want it for
every song they sing.
Achieving this maximum successful per-
formance skill is not without risk. Getting up
on the stage itself is a risk. But that is when
people perform. They have a singing ability,
work hard at it, and want to unleash its fury.
This is why singers must sing. They need to
find out how much they can achieve through
communicating emotion with an audience.
To discuss the Beatles again consider that
in Germany they performed two hundred
seventy six times in a year and a half. When
they performed it was for eight hours at a
session doing cover tunes, jazz and many
other styles. Most bands today don’t perform
that many hours in a career let alone with
multiple styles.
Are you like my student, ready to work
harder, I mean much harder? Are you ready
to do eight hour gigs like the Beatles? What
do you want to attain in the area of vocal
performance? I’ll leave it up to you and the
Lord. Now go sing well!
Roger Beale is one of the nation’s foremost vocal
coaches. His teaching and coaching facility, The
Voice House, is involved
in the management and
care of the professional
voice. Many of his students
have won prestigious
vocal competitions and
scholarships. In addition, he has worked with
Grammy and Dove award winners and nominees.
He also offers vocal clinics and seminars, as
well as assistance in recording sessions. Roger
is founder and host of the Christian Singers
Workshop (www.christiansingersworkshop.
com), dedicated to the teaching of contemporary
and commercial vocal techniques. Roger can be
contacted at: voicehouse@mindspring.com, web
site: www.thevoicehouse.com.
 New Year’s Resolutions?
I’m not sure exactly why it is that we
pick January as the prescribed time to re-
evaluate our lives and make ‘new year’s’
resolutions. The truth is that we should
continually be examining ourselves,
making adjustments and setting goals.
If we only pick one goal and make one
resolution per year, we’re not going to
grow or change very much, are we? Also,
by picking one BIG goal for the year,
we often set ourselves up for failure. By
setting smaller goals more often, we are a
lot more likely to reach our goals.
We have to first of all realize that
we are a fallen people in need of a lot
of change. And the changes we need
the most don’t have much to do with
losing weight (although that is a goal of
mine this year) or with improving our
financial status (though most of us could
certainly use a little of that, considering
our recent economic state). The truth
is that our most significant voids often
lie in the areas of the need for truth and
goodness and love and forgiveness. We
desperately need all these things that
only God can provide. Even the secular
idea of ‘essential needs’ (food, water,
shelter, etc.) are ultimately provided by
God. In order to establish worthy goals
and to attain them, we must rely on God
for the very inspiration and the strength
it takes to accomplish them. In the end,
all our forward strides originate and are
granted by Him and, hopefully, come to
glorify Him.
All the disciplines of art (music, the-
ater, dance, painting, and many more)
are examples of creativity and energy.
They all reflect the artist’s view of life -
and they are meant for the purpose of
sharing with others. As artists in God’s
kingdom, I believe we are called to reflect
Him to the world. If you think of God
as the ultimate Creator and Artist, our
interest in art and our abilities to create
it are like little embedded pieces of God
Himself inside of us. And if He truly lives
in our hearts, our art will tend to be a lot
like His art. Look at His creations - the
beauty of nature, the brilliant order of
things, the miracle of life, the range and
depth of emotions, the relationship mod-
els He has shown us of love and peace
and kindness. God’s art reflects who God
is. These very attributes will show up in
our art too if we are following Him. And
if our art points to and offers worship
to Him, the Word says that he actually
comes and ‘inhabits our praise.’ He lives
in our worship! This gift we have as art-
ists cannot be taken for granted. It needs
to be used to its full potential, which I
think pleases God. A lot. There is one rub
to this inspirational pep-talk though, and
that is that we are in charge of actually
developing the talents that God gives us.
In order to sing or play music well,
as in any other art form, we must study
and learn and practice and develop skills.
In music, we first need to sense pitch
and time and form. We then need to
understand the theory behind all of it,
the hows and whys of music, so we can
continue to grow. We have to practice
scales and build chords and develop
coordination. And, as much as we fight
against it, we need to also be able to read
music (often in two or three forms). We
need to develop our ability to create mu-
sic beyond just singing or playing a song.
We should also experiment with writing
and arranging music. We should experi-
ence a wide variety of musical styles and
become proficient at all of them. We
need to grow in ability, continuing to
beef up our ‘chops’ and develop our mu-
sical tastes for as long as we live, never
being satisfied that we’re ‘good enough.’
Our sacrifices are actually never ‘good
12
enough’ for God anyway. That’s why He
sent Jesus. Truly, we’re fortunate that He
puts up with us at all. Certainly, the least
we can do is offer Him the best sacrifices
we can. The beauty is that the more we
put into our art and the less selfish we
are with it, the more our attitudes will
line up with God’s and the happier we
become at being who we are and doing
what we do.
My personal goal this year, and I
hope you’ll make it yours too, is to
stamp out mediocrity in music, most
especially church music. God deserves
more. Meditate on it. Really listen to
what you’re hearing at church. Learn to
loathe the mundane and yearn for some-
thing more, something better. Search
high and low for song lyrics that have
something to say. Look for melodies and
chords and rhythms that help communi-
cate those lyrics with passion. Can’t find
them? Look harder - or write your own
songs. Study to improve on your par-
ticular instrument and in your particular
group role. Get out a pad and pencil and
write down an outline as to what you
can do to get better. Start doing it today.
Be an inspiration to others, the spark
that makes your entire worship com-
munity glow. Bring life to the music at
church so that all can be inspired. Praise
the Lord with all you’ve got!
Have you seen John’s free
‘Praise Guitar Lessons’
online yet? Go to CCLI TV
and start the weekly lessons
today. And make sure to look
over John’s calendar at www.
praiseguitar.com to find an
event near you where you can hear him live.
 W ith our new free iPad app,
“front-of-house” can be
anywhere in your church! Up to
ten praise band musicians can
control their own monitor mixes1.
Introducing StudioLive
Remote, our free iPad app that
works with any PreSonus digital
mixer2. It gives you hands-on
control of channel levels, mutes,
panning, EQ and more for multi-
ple channels at once. Click for a
closeup Fat Channel view. Tweak
1 The 24.4.2 provides ten aux mixes; the 16.4.2 give you six. 2 Requires a laptop with wireless, running Virtual StudioLive (VSL), and connected to the StudioLive via FireWire.
©2011 PreSonus Audio Electronics, all rights reserved. StudioLive is a trademark of PreSonus Audio Electronics. Studio One is a trademark of PreSonus Software, Ltd. iPad is a registered trademark of Apple, Inc.
monitor mix levels, panning and
processing. Adjust the graphic
EQs, well…graphically.
Combine StudioLive Remote
with Capture (2-click multitrack
recording program), VSL, plus
Studio One Artist DAW, and your
church has the most versatile,
affordable live mixing/recording
solution ever.
Get the whole story on
our web site. And then
get a StudioLive.
StudioLive
Remote.
Available
January
13th
2011 at
the Apple
App Store.
Baton Rouge USA • www.presonus.com

It’s a blessing to all
when God allows us to
shift our passion from one
thing to another. Matt &
Deanna Dolan do it beauti-
fully! Strong marriage,
sold out to Christ, diligent
in ministry and excep-
tional musicians. They do
everything with everything
they have…full of passion,
excellence and love. Meet my friends…
I first met Deanna back in the Summer
of 2002 while shopping for an apartment in
Franklin, TN. She was a leasing agent while
at the same time, a successful and incredible
Singer/Songwriter pursuing a record deal and
rubbing shoulders with musical giants. I was
a year and a half into my move to Nashville
and had finally made it to the “Big Time” as a
drummer. About a month earlier, I had gone
on my first cattle call audition for a promi-
nent Country Artist and got the call to be the
drummer. So, I finally had enough money
to move to a nicer part of town and luckily
Deanna was my leas-
ing agent.
So, why, after
3 years of traveling
the world for free
making a great liv-
ing playing drums
in front of 50,000
people did I decide
to come off the
road? I had spent
my entire life up to
this point pouring
100% into my art to
achieve this and now
after only 3 years I
was leaving?
Being a road musician is a lot of fun but
at the same time it is extremely difficult for
a Christian. We would play 100 shows per
year but once you factor in travel days on a
bus, we were gone over 200 days out of the
year. This is not a good recipe for cultivat-
ing a relationship not to mention the many
temptations you’re faced with daily. I was on
a bus with 13 other personalities who didn’t
really have my best interest in mind and it
became less fun as time went. Not only were
Deanna and I fighting over the phone about
stuff that’s going on in the background but
also I was becoming less a part of the band
because I was separating myself from bus
life. A change had to happen if I wanted to
honor my future wife but more importantly
God because up to this point I had only given
100% to my art.
At the same time, Deanna was getting a
chance to see behind the curtain of the music
industry and beginning to second-guess her
place in it. Was this really what she wanted
because she wasn’t liking what she saw
Giving 100% in
Music, Ministry & Life
and realizing it wasn’t as glamorous as she
thought.
So I’m on the bus doing a study by Henry
Blackaby called, “Knowing and Doing the
Will of God”, because I was trying to figure
out if I was crazy for thinking about leaving. I
had spent most of my life pouring into my art
to get to where I was and now I’m thinking
of leaving. I have a degree but my whole life
had been music. I’m about to get married and
need to make a living but I’m 29 and can’t
afford to start over and then I read about the
call of Abram in Genesis 12:1-5…
“The Lord had said to Abram, ‘Leave your
country, your people and your father’s house-
hold and go to the land I will show you.’
What if Abram didn’t take that next step
of faith? Leave your Country? Leave every-
thing for what? You see, God will reveal the
rest of the story as soon as we make the initial
faith based decision to follow his instructions.
I knew right then and there that I needed
to leave this chapter in life and move to the
next, whatever that was…so I quit the road.
What you don’t know up until now is
that Deanna was a
Muslim. I wish I could
tell you her whole tes-
timony, but long story
short, through the next
year, she would convert
to Christianity and
her Palestinian Father
would disown the fam-
ily because of it.
After her conver-
sion, her passion would
lead her away from the
music industry and
full on into a ministry
called MERGE that
reaches out to Arab
refugees here in Tennessee. It is designed to
be the hands and feet of Christ to Muslims
and to love them where they are, making sure
they have the essentials in life such as toilet
paper, ESL (English as a Second Language)
classes, life skills and a friend. Through this
process the fruit of her labor has seen other
Muslims coming to Christ and being dis-
cipled to be faithful followers of Jesus.
At the same time, I currently work at the
same church using my college degree to head
up the graphic design/video department. We
are also are heavily active on the worship
team. The interesting thing about all of this
is that God has given us all the desires of our
heart. I literally, at one time or another, have
wanted to do everything that I’ve done these
last 35 years. I used to think that when God
said that He would give me the desires of
my heart, that meant I would be touring the
world at the top of the musical ladder, but
He never says how long those desires will last
until he has something new for us. I thought
my musical journey was done and it would
now be my hobby. But, since then, Deanna
14
and I have had the opportunity to travel to
Turkey, Syria and Egypt and lead worship at
Arab Christian Youth conferences. It’s better
than we could have ever dreamed and we get
to do it together.
So how do we put 100% into our Mar-
riage, Ministry and Musicianship? We do it
because we love to and because we are called
to. We are blessed to get to spend a lot of
time doing the same activities together but
we make it a point to carve out quality time
throughout the week. We have to.
Ministry is a constant everyday thing
whether it’s shopping for groceries or wor-
shipping on Sunday morning and the more
you are in the Word, praying and seeking
God, the easier it is.
Finally, Music is just part of our lives. I
love playing drums and Deanna loves sing-
ing. And we do it more passionately now
than ever because there is purpose behind it.
We are worshipping God, our creator! How
can we not put 100% into practicing, rehears-
ing and worshipping on Sunday mornings!
This was and is our journey. What we have
learned so far is that we serve a God that does
things above and beyond what we expect. He
takes us on paths that we don’t plan out but
they turn out to be much better than anything
we could plan ourselves. Following God 100%
is more than worth it and He deserves it all.
We hope that you will be encouraged to follow
Him 100% in your ministry, marriage and wor-
ship. Deanna and I both at one time imagined
we would be traveling the world playing and
singing. We never knew that it would be
together and to serve the true and living God.
He works the desires of our hearts into a beau-
tiful work of art. The key is aligning our desires
to His will. Yes sometimes it is a sacrifice but
a sacrifice that we are happy to make. He will
not give you more than you can handle and
we trust that.
Taking leaps of faith and following Him
is a great adventure. Its how we always want
to live. It leaves us relying on Him fully to
accomplish all that He has called us to. God
calls us to love. Love him and love people.
So in ministry, worship and marriage if you
are going forth in “love” that is giving one
hundred percent. To Him be the glory!
Matt is currently on staff as the Graphic
Designer and Videographer at Grace Chapel
in Franklin, TN. In addition he serves on
the worship team and has had the privilege
to perform around the world with various
Country and Christian artists. Deanna is
currently the director of the MERGE (Meet-
ing and Encouraging Refugees through Guidance
and Empowerment) ministry at Grace Chapel
in Franklin, TN. She also has the privilege of
serving on the worship team, leading wor-
ship for women’s ministry and has traveled
throughout the world leading people into
worship. You can reach the Dolan’s at: Matt@
gracechapel.net & Deanna@gracechapel.net
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roduct eview
PRS Sweet 16 Guitar
Amp Head by Joe Riggio
Paul Reed Smith is one of the few guitar
companies to successfully compete for fame,
among the top manufacturers in the United
States. A timeless and high quality product
has made them a common name in a market
that is heavily dominated by traditionally
recognizable brands. After 25 years in the
industry PRS has, only recently, introduced
a line of amplifiers. PRS chose amp builder/
designer Doug Sewell, whose circuits are well
known for their simplicity and purity, to
create their long awaited line of tube amps,
manufactured in their Stevensville, Maryland
plant. The Sweet 16 model is one of the latest
in the line and this month I had a chance to
spend some quality time with one.
Features/Layout
The Sweet 16 is a 16 watt, all-tube amp,
powered by a
pair of 6V6
output tubes,
in the power
section. These
tubes have
recently made
a come-back
after a long
run of low-
powered amps
featuring
EL84s have
been made
popular since
the late 80’s.
They are the
power tube utilized in
some classic circuits, such as Fender’s tweed
Deluxe, from the 1950’s, as well as the Deluxe
Reverb model. This is royal heritage and it’s
no wonder that companies have been look-
ing to them, lately. The preamp section is all
tube, as well and utilizes two 12AX7 and two
12AT7 tubes.
The control layout is quite simple, but in-
cludes all that you need to dial in the type of
tone you’re looking for, including; VOLUME,
MASTER VOLUME, TREBLE/MIDDLE/BASS,
REVERB and a mini BRIGHT switch. The rear
panel includes 2 speaker jacks and a 3-posi-
tion speaker impedance switch.
Out Of The Box
I thought it might be fun to put this amp
to the test, on the stage, right from the get-
go. I was scheduled on the worship team for
3 services, the following weekend, so I left the
amp sealed in the box, until then. I arrived
5 minutes before rehearsal and opened the
box for the first time, right there on the stage
and plugged it in place of my usual 18 watt
head, into a 2x12 cabinet with one Celes-
tion G12H30 and one Celestion Alnico Blue.
Daring, I know, but I thought this would be a
great way to test how intuitive the amp might
be. I use a pedal board that includes three
different
overdrive/distortion pedals, so
I set the controls where I would nor-
mally set them for a fairly clean sound, from
the amp. The result was fantastic and I never
once re-tweaked anything on the amp. The
sound crew was sure to tell me how much
they loved the tone from the front of house.
That’s always a good sign.
Back At The Ranch
At home I was able to get more acquaint-
ed with the different settings and capabilities
of the amp. I was very pleased with all of the
16
tones I was able to create, using all types of
guitars and pickups. Driving the amp into dis-
tortion produced a very musical overdrive at
all Master Volume settings. PRS calls this their
Transparent Master Volume and I must agree
that the tones remain full sounding, with
very natural-sounding compression, even at
lower settings.
Clean tones are also pleasing, with the
Master Volume set high and the Volume set
lower. This amp has just the right amount of
power for a quiet stage volume, but still al-
lows the amp to breathe, without over-power-
ing the stage. The reverb sound really shines
when the amp is set clean and responds
sweetly to the player’s touch.
All three tone controls produced adjust-
ments that I wanted to hear and were very
well suited to the guitars voice. The controls
also “stay put” and are not easily moved, if
slightly bumped.
Under The Hood
A look into the aluminum chassis was
easily accessed by sliding it out of the back
side of the meticulously-covered, solid-wood
cabinet. The circuit is comprised of a
combination of both
printed circuit
board and
point-to-point
wiring and is
very cleanly
laid out. This
is a huge plus
when it comes
time to service
or repair the
amp. All of the
tubes were of
high qual-
ity and even
included two
USA-made vin-
tage 12AT7’s,
impressive!
Wrap It Up…
The Sweet 16 produces nothing but sweet
tube guitar tones with very musical overdrive
and clean voices. It is not a high-gain amp,
but works very well with pedals that are. It
is priced well into the hand-made-in-the-
USA category, but is not as spendy as some.
I would be very pleased to call one my own.
Retail Price: $1,999
http://www.prsguitars.com/sweet16/in-
dex.html
 ™

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 roduct eview
UAD-2 Quad DSP
Accelerator Package
by: Michael Hodge
It’s a given… We use computers to record
our songs. The quality of what we can create
in our home studios is almost limitless these
days. So if you want to get the most out of
your studio recordings please read on!
This month I’m reviewing the UAD-2
Quad DSP Pcie card. This is a “powered” plug-
in card you install into your computer’s Pcie
slot that allows you to use true studio quality
vintage Compressors, EQ’s, Reverbs, and more
without slowing down your computer. With
this card you’re able take your recordings up
to the next level.
No matter what instrument you play,
“Pro” gear makes a huge difference in your
sound. It’s the same with recordings. Profes-
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the right pieces of vintage gear that bring
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Thanks to UAD, you can get the great
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Studio mic in your guitar?
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puter for a fraction of the price.
The UAD-2 is compatible with
Nuendo, Cubase, Logic, Pro
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It supports VST, AU & RTAS. Its
compatible with Mac OSX Tiger
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A little History:
Universal Audio was founded
in the 50’s by electronics guru
Bill Putnam Sr. He was the creator
of several must-have Classic
compressors, including the LA-2A,
LA3-A, the amazing 1176, and the
UA 610 Preamplifier. UAD is the digital side kick and snare, or tracks that sound huge, all
of the company. benefit from pro signal processing.
It’s very likely any CD you listen to has The UAD-2 Quad is the company’s
been recorded or mixed with one of his flagship DSP card with four Analog De-
company’s analog or digital plug-in products. vices SHARC floating-point processors. Each
That amazing “in your face” vocal, pumping
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18
 “A real piece of mastery…
that sounds like no
other guitar.”
- Ricky Skaggs, Multi-Grammy
Award-Winning Recording Artist

O ur 25th Anniversary and Angelus/Tonare Grand models are

available at select PRS dealers right now. These instruments are
created with the greatest of care by some of the finest craftsmen
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Unique Private Stock instruments can also be custom made to
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© 2011 PRS Guitars Photography by Marc Quigley
 By Bruce Adolph

2011 marks Ricky’s 40th year

as a professional musician, and
this fourteen-time Grammy Award
winner continues to do his part
to lead the recent roots revival
in music. Known affectionately
today as bluegrass music’s official
ambassador he has released a
new project that stretches the
musical boundaries and then
some.
When we heard that he had
teamed up with one of our favorite
songwriter/guitarists/producers
– Gordon Kennedy – for this new
project - we knew it was time to
talk with Ricky.

Christian Musician: Your new
album “Mosaic” has such a
fresh sound to it. There is a lot
of different instrumentation and
musical styles to it. Would you call
it a “New Grass” record?
Ricky Skaggs: Well, I wouldn’t
quite say it is New Grass; it is
definitely a new sound. I heard a
lot of these demos come in from
Gordon Kennedy and his writing
team and I just knew it was
something different you know?
And the way the lyrics were written I started out playing bluegrass in
was an incredible way to express the 1950’s really (my dad bought
the Word of God scripturally. And me my first mandolin when I was 5
to get it out there, in a way to years old) so in 1959 I was all set
people, that didn’t offend. to play mandolin. My bluegrass
roots really go deep with me as
It was quite a departure for me, a foundational start. Really, all of
but it was something that I felt like the music I’ve ever done has been
I really wanted to jump out of the built on top of that.
boat into you know? It was a little
nerving not really knowing how Then if I jet propel up into the
people would take it… people that future, I guess it was in the late
had bought my bluegrass stuff for 1970’s that I had met Emmy Lou
years. Harris up in Washington, D.C.

20
And Linda Ronstandt and people was a really great thing for me didn’t meet Gordon until the Bruce
like that, and they really loved to do because it allowed me to Hornsby record that Bruce and
the fact that I had this tremendous record the kind of music that I I did together. Gordon wrote a
history (almost a walking Webster’s wanted to record without having song and turned it in to us called
Dictionary) for bluegrass, old time to argue with 20 people sitting “Come on Out With Your Hands
mountain music and gospel songs around a boardroom table. They Up.” It was a song that he and Phil
and that kind of stuff. Emmy Lou would be telling me why bluegrass Madeira had wrote (those two also
asked me to be part of her band won’t sell. (Laughing) They would wrote “Can’t Shake Jesus” on the
and in 1978 I joined and was tell me why I couldn’t do a gospel “Mosaic” record). Bruce loved the
with her up until August of 1980. record, so with my own label now song Gordon had turned in and
And then I came to Nashville I could call all my own shots. I can asked him to come in the studio
with the idea of trying to blend now argue with myself if I want to. and record the Dobro guitar part
bluegrass and old time mountain (Laughing) for it and then Gordon showed
music with modern country music. up to play the CMT “Crossroads”
Not modern music like Ronnie So all that to answer your question Television program that Bruce and
Milsap or Alabama and groups in that this record “Mosaic” is kind I did for that record. That is what
like that were doing. But I wanted of a musical mosaic as well as the started our relationship. A couple
to try to bring a traditional country title of the record. It is a little bit of of our engineers (Lee and Brent)
sound of the 60’s and late 70’s old bluegrass, it is a little bit of the had known Gordon for years as
back into the mainstream of music old sounds that I grew up with in well as his father and brothers
and have that bluegrass mixture Appalachia (in Eastern Kentucky) and Gordon had started sending
there, because I knew there was but it is also a fresh new kind of Lee some demos for me to listen
a sound of bluegrass music that wind that is blowing in as well. It to. Lee would listen to them and
people loved. I mean commercials is a little bit of everything I’ve ever say back to Gordon, “Well, I don’t
were using banjos, fiddles and done. think Ricky is going to like that, he
mandolins to get people’s attention, might like this one a little bit”. So
so I knew those instruments were CM: It is like a lot of cultures Lee finally ended up sending me
“attention getters.” mixing, from electric guitars to everything Gordon was giving
traditional instruments… I think it him and when I listened to them,
I really had a lot of success in is great music. I just wasn’t sure if I was going to
the 1980’s and early 90’s with be able to do these songs. But as
country music. Now Bill Monroe RS: I’m glad you like it. We have I heard them I said, “Man, I love
had passed away in 1996 and my yet to find one negative review. these tunes and I sure would like
father passed away the same year It’s amazing. I look for it. I want to to have a chance to record them…
and I had this “deep calling unto know what people don’t like about just to see if I could sing them”.
deep” to come back to my roots. it, you know. Not that I’m going to
Mac McAnally and I had recorded change anything about it because So our relationship started not that
one of his tunes a few years before that it is too late. But NPR, the long ago but I’m telling you, he
that called “Simple Life” and that New York Times, the Wall Street feels like an old pair of shoes. He
song just really resonated in my Journal, people out there that is just that constant, good brother
heart - because it was about living would not normally give a gospel that loves to laugh, to have fun and
the simple life and condensing record or a Christian record a that loves Jesus. I’m telling you. We
things down. So I got rid little nod, have just said glowing have the greatest relationship; we
of a tractor-trailer and things about this record. The fact love each other. You know Gordon
two other tour buses (I that the mainstream marketplace and I were talking about this the
kept one bus). I had has really embraced it is one of other day. If we had to give up our
25 people on payroll the most amazing things about this friendship or give up this record
and I really felt like project. (as much as we love “Mosaic”) we
it was a call from both agreed that we’d rather give
CM: Now tell us how it all got
the Lord to go back up the music than our friendship.
started. When did you first meet
and simplify my This was the greatest part of
Gordon Kennedy and how did this
life musically and this whole journey… seeing our
project come about?
also structurally friendship grow.
with my business RS: I met Gordon’s dad back in
o r g a n i z a t i o n . the early 80’s when I first came to CM: That’s terrific. Gordon has
So all of that Nashville. I did some recording been helping Christian artists
happened in sessions for him for Reba McEntire for so many years it’s not funny.
1995 and and sang some harmony for him He is a pillar in that community.
1996 and and maybe played some mandolin Switching gears here a bit… tell
in 1997 and fiddle on other projects for us about the song you mentioned
I started him. But I soon got so busy trying - “Can’t Shake Jesus”?
S k a g g s to be a session musician and have
F a m i l y a career as well… then my session RS: The way the story goes is that
Records playing dried up as I got busier Gordon was sitting down one
w h i c h playing on my own records. I morning to write with Phil Madeira
and they had piddled around the
21
 is incredible. old 1920’s Gibson A5 mandolin
that was part of my life for about
CM: Yes, I watched 20 years (I had it back when I
you playing it on a was with Emmy Lou Harris). The
YouTube clip and it guy who owned it wouldn’t sell
doesn’t beat you over it to me and I said, “Please sell
the head but it delivers me this mandolin.” And he would
Jesus to you. say, “No, just keep it and play
it as much as you want to.” And
Can you tell us about what was happening was I was
both the vintage building up a pedigree from all
gear and the newer of the albums that I was using it
instruments you used on (I had played it on 25 or 30
in recording Mosaic? records). And one day I was in
Knoxville where the gentleman
RS: Well, I’m using
who owned it lived and he said,
two or three new Paul
“I’d like to get my mandolin back
Reed Smith acoustic
from you.” And I said, “Oh man
photo by Chris Waits
guitars that we really
no, please sell me this mandolin.”
love a lot. These are
whole morning and not really And he replied, “No, I want to
unbelievably clear sounding
had written much so they were give it to my grandson, he really
guitars. I started working with Paul
getting ready to go to lunch. Phil wants a mandolin.” And I could
about 5 years ago on this acoustic
had mentioned a relationship that just see the grandson dragging
guitar idea. I hopped on board
this girl he knew had. She was this mandolin across the road
and said that I would be glad to
married to a guy who had this and I was imagining all of these
lend my expertise… we need to
really “religious” thing on him and nightmare situations (laughing).
come up with something that looks
he would take the scriptures and
great, plays great and sounds I had looked for years to try and
just wear her out and beat her
great. That was the criteria. And find a mandolin as sweet as this
down emotionally with them. If she
these Paul Reed Smith acoustic one you know, and I just couldn’t.
didn’t come up to his standards,
guitars turned out great. Even But the owner wanted it back and
then he would really let her have
the pick-up systems we are really I had to give it to him. Now about
it using scriptures. This put a bad
happy with. 8 years later he sells this mandolin
taste in her mouth about anything
to do with the Lord or church or to a guy in Georgia and that guy
For vintage stuff, Gordon played
anything like that. She was raised calls another guy in Georgia who
some old Gibson acoustic guitars
a Christian and had roots but this is a friend of mine and says, “Hey,
(J45’s & J50’s), I played a bouzouki
guy had soured her stomach so I just bought Ricky Skaggs old
(which is a Greek instrument that
much that she started looking at A style mandolin”. My friend in
has kind of been adopted now for
New Age, Hinduism, Buddhism Georgia knew the story and knew
Celtic music) and I played lots of
and this, that and the other. And my heartbreak over losing it. So
different mandolins. A long hole
while Phil was relating this to he told the guy (who was a
Gordon he said, “You know, guitar dealer) if you ever
at the end of the day… she decide to sell it, I will buy it
just couldn’t shake Jesus”. And from you. The guy replied,
that one phrase that Phil said, “Naw, I think I’ll just keep
was where the song was born. it for a while.” Well, two
Gordon being the tunesmith weeks later the guy calls
that he is said, “Alright, we up and says, “Hey, I need
are going to lunch and when a little cash so I’m willing
we come back that is what we to sell that mandolin.” My
are going to write”. I guess that buddy bought it and called
was probably the shortest lunch me up and said, “You are
they ever had. (Laughing). not going to believe what
And you know, we have had I am sitting here holding.”
more positive response on that When he told me I couldn’t
song than anything else on believe it. He said, “I had to
the record. I have been doing pay more than what it was
that song just with an acoustic worth because it was your
guitar as an encore and man, old mandolin. If you want it
it is such a powerful lyric… back, you can pay exactly
and really it is a great track what I paid for it.” I said, “I
on the record but when you do do want it back and I don’t
it with just an acoustic guitar, care what you paid for it
people are forced to have to (it was like $5,000.00 or
listen to just the lyrics… and it so). I’ll pay it!” I was so
Ricky with Gordon Kennedy

22
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 I think that they certainly can adopt
that lifestyle. That is one thing that
the world does really good that
the church does need to be doing.
We have seen that and we have
other kids that we pour into here in
Nashville. We are involved with a
pretty intense 90-day program for
youth that includes bible study and
street ministry along with feeding
the poor. Many of the kids in this
program are interested in music
and they want to take music out
to the marketplace and use it as
a tool to minister and evangelize
with.

So I do believe that the Levitical

community of the church many
times doesn’t see how important
that ministry is. There are some
photo by Alexis Somers
thankful to God for it coming back CM: Wow! I could talk guitars all colleges like Liberty University,
and it arrived right before I started day. I noticed that your daughter that have a worship school now.
making “Mosaic”. I just felt like it Molly sings on the record. When There are a lot of people pursuing
was a God thing and I used that I first heard it I actually thought studying to be worship leaders.
mandolin a lot on the record. it was Alison Krauss, her voice I’m on the board there and I keep
sounded so pure. saying to them, “Look, we don’t
We also used a mandocello and need to just stop with the church,
an 8-string octave mandolin. We RS: She knocked it out of the park! that is a good place for kids to
used a bunch of old Martin guitars She is such an incredible singer go and get some experience
and some old Bourgeois guitars. I and she has such an incredible but God wants to get these kids
used a Jerry Jones Dan-electro type relationship with Jesus. Her spiritual out of the church and into the
6-string baritone electric guitar that
maturity and singing voice made streets.” We have to get the “salt
one of my kids had bought me for it a great performance on “I’m out of the shaker.” We have got
Christmas last year. Gordon had a Awake Now”. Again it is amazing to get the church out there in the
very old Fender amp with tremolo to see how the mainstream marketplace where people are…
that I really loved that hadn’t been marketplace has embraced this where people are dying and
made in 40 years and I told him album. This record isn’t “holding going to hell everyday and that
I would really like to get me one people over hell with a rotten need a Savior! It is one thing to
of those. The next day – honest to stick” trying to get them into the minister inside the church building
God – Steve Wariner calls to talk kingdom you know, by using this where everything is comfy-cozy
with Gordon and mentions that his fear thing. It is music that doesn’t but it is something else to go to a
son had an old Fender amp he condemn, but it confronts. The casino or a bluegrass festival or
wants to sell and it was the exact lyrics are not judgmental. I wanted out in the marketplace somewhere
same amp that Gordon had. We to introduce Molly on this record and live as one who loves Jesus…
bought it and used it on the record to the mainstream. The demo that and be able to withstand out
too! Gordon had sent had a female there. It is something that we need
voice on it and as soon as I heard to be about, in training the next
I had another incredible mandolin it I said, “Molly has to sing this!” generation… I totally agree.
nick named “PeeWee” that was
used on several of the songs that CM: Right on. With the few minutes CM: For my last question I went to
I grew up listening to on the radio we have left I wanted to comment my FaceBook friends and I asked
make it’s way to me and I just on an observation of the bluegrass them what question would they
traded for a 1855 Martin guitar community. I see that they are very want to ask Ricky Skaggs. Here
(pre-Civil War) that is a “1” size serious about raising their children is the one I selected. If you were
– which is smaller than an ought. on musical instruments. They take down to your last song… what
So this has been a season where their kids to bluegrass camps song would it be?
the Lord has blessed me. I love for musicianship training and to
the sound of small body guitars. I different festivals and events. I RS: “Oh, how I love Jesus… Oh,
have always used big rich, robust think the modern church can learn how I love Jesus… Oh, how I love
sounding guitars but I also like the a lot from this practice of investing Jesus, because He first loved me.”
small ones too. My Martin 00-42 in the next generation musically.
is on the cover of Mosaic and it is What are your thoughts on that?
just a beautiful and rich sounding visit Ricky Skaggs online:
little guitar. RS: Well I really think that they (the
church) do have a lot to learn here. www.rickyskaggs.com
24
 visit us a
t Winter
NAMM B
ooth #56
98
 selective hearing
The Better Angels
John Francis
Dualtone Records
“Comforting the
disturbed, and disturb-
ing the comfortable.”
This idea seems to be at
the heart of John Francis’ ridiculously great
new LP. The Better Angels is a wonderful travel-
ogue, rooted in the rich soil of America, both
the music and the country in the midst of
serious social, moral and economic upheaval.
Francis does an amazing job of blending vari-
ous genres of music into one cohesive and
beautiful compilation of outrage, love and
compassion for the oppressed. Francis’ affin-
ity for his fellow man is emphasized in a trio
of songs, (“Brother’s Keeper,” “Call Me When
You’re Ready,” “Prayer in a Time of Drought”)
while a number of tunes take our society to
task for the crumbling middle class and our
incredible tendency to feel entitlement with-
out provocation (“The Way the Empire Fell,”
“Who,” “War Register Blues,” “Everything
is Falling Away”). Yet, Francis always man-
ages to get to the heart of the saints and the
sinners, the beautiful and the broken in his
stories (“People On the Edge of the World,”
“Beautiful One,” “Mississippi”) and in so
doing, illustrates the humanity that informs
us all. Francis is the son of rural Pennsylvania
ministers who always had music playing in
the house (Neil Young, Johnny Cash, Bob
Dylan) and went to Messiah College in his
home state, where he studied Literature and
World Religions. That background is clearly
seen in his songs, literate tales and stories
that are full of both dissatisfaction and subtle
moral directive. Yes, his faith can be easily
seen if you are looking for it, but the gospel
in this album is one born of calls to action
more than doctrinal statements. Musically,
he alternates between ballads with a folk
and country flair, and roots rockers that are
filled with deep rural character. Francis’ voice
might be somewhat similar to vocalists like
Jeff Buckley, Kevin Max and Chris Isaak,
but stands on its own as a unique, powerful
instrument. The Better Angels was produced
by John Carter Cash and recorded in the Hen-
dersonville Farm/Studio that was the site of
so much of Johnny’s greatest work. Many of
today’s finest musicians form the studio band,
including Pat Mclaughlin, Michael Rhodes,
by Shawn McLaughlin
Kenny Vaughan, Ken Coomer, Dave Roe,
Adam Davis, Ross Bellenoit, Chris Giraldi
and Todd Erk. These folks have worked with
artists like Lucinda Williams, Wilco, Rosanne
Cash, Dixie Chicks, Uncle Tupelo, Steve Earle,
Ashley Cleveland and other giants of the
alt-country/americana world. If these names
represent some of your favorites, you really
can’t go wrong with John Francis. You can
purchase this online at Amazon and iTunes.
Inter-Dimensional
Traveler
Phil Keaggy Trio
Strobie Records
www.philkeaggy.
com/store
Collaborating with
longtime drummer, John Sferra, and mutual
friend, keyboardist Jack Giering, Phil Keaggy
releases his umpteenth album of the millen-
nium: a jazzy, funk-fueled romp through 12
melodically concise songs that focus more on
thematic unity than unbridled improvisation.
The album came as an inspiration from Jack
Giering’s miraculous recovery from a heart
attack. As he puts it, the album is “an attempt
at producing a soundtrack of my short death,
as I remember it before the doctors brought
me back to life.” Keaggy is in fine form on
the disc, mostly playing electric and utiliz-
ing only simple effects like the wah-wah
on the title track, while Giering employs a
smorgasbord of keyboard sounds, relying
mostly on organ but adding a few synthesized
textures here and there. Often the interplay
has a slight Steely Dan feel, subtly on “Let’s
Think About It” and much more pronounced
throughout “Cold Girl,” where Geiring
accents the mix with keyboard horns and
Sferra’s steady drumming provides the track’s
anchor. Tunes like “Porchpuppy Theme” and
“Our Girls,” a tribute to the band member’s
daughters, are similar in style to Keaggy’s
work on Play Thru Me. The album has a
charm unlike any of Keaggy’s recent projects,
perhaps owing to the renewed keyboard/
guitar interplay that hasn’t been heard so
blatantly since albums like Emerging, which
featured the rock/soul BAND dynamic of Phil
Madeira, or the more improvisatory interplay
between Keaggy and Richard Souther on How
the West Was Won. Regardless, Inter-Dimen-
sional Traveler is a real treat for fans of guitar,
26
keyboard-funk, jazz-rockers, ballads, good
music in general. You’d expect nothing less
from a name like Phil Keaggy, and his friends
bring in a fresh element that makes this one
of the guitar master’s most memorable in
some time.
Move
Third Day
Essential/
Provident/Sony
Consolidating the
strengths of past work,
Third Day releases
their latest opus, Move.
The album is an assimilation of the band’s
southern roots (best represented by their
debut and Time), the more rocking dynam-
ics of Wire, Revolution and Conspiracy #5,
and the pop-worship moves of the Offerings
projects or Wherever You Are. Lyrically, Third
Day alternates between straight up worship
declarations and songs that exhort and in-
struct. Highlights in the former camp include
“Children of God,” a surefire single if ever
there was one; “Trust In Jesus,” which marries
a thoughtful and inventive arrangement with
trite worship sentiment; and “Sound of Your
Voice,” another congregational pleaser that
features a lovely guitar figure and vocal har-
monies from Christy Nockels. It is the forays
into rock and gospel territory, however, that
truly provide the musical movement reflected
in the album’s title. Album opener “Lift
Up Your Face” is a rocker that marries the
heavier production tricks of Revelation with
an insistent, minor key hook and the killer
vocal chops of The Blind Boys of Alabama,
while the next track, “Make Your Move,”
features heavy bass and the type of punk-
meets-southern blues riffs that you’d hear on
a Black Keys record. “Surrender” and “Gone”
mix excellent choruses with some serious
southern rock swagger, resulting in the most
consistently propulsive moments on the re-
cord. With apologies to former guitarist Brad
Avery, his departure might be the best thing
that has happened to Third Day, as it has
allowed Mark Lee and his heavily roots and
blues influenced axe work to become central
to the band’s sound, giving the group’s last
two records a rawness that benefits a more
rural vibe. Always a band that has ridden the
fence between commercial hit machine and
solid blues based rock band, Move represents
Third Day’s most fully realized amalgamation
of their musical influences in a package that
doesn’t compromise their commercial aspira-
tions at all.
This is Christian Musician’s (and my) first
attempt at a year end list and it would be
foolish not to discuss the parameters I used to
arrive at these choices and this order. I notice
that many magazines have top 10’s of each
writer that reviews albums for them. I am the
sole review writer for CM so I feel a little less
free to simply list my personal 20 favorites
here. Artistic excellence is about 90 percent of
my criteria while sales is about .001. The rest
of the 9.9 % is comprised of social, political
and spiritual impact, originality and histori-
cal significance. However, I realize that my
tastes tend toward genres that aren’t as well
represented in the marketplace today so a few
releases may be a bit lower than I would list
them if solely going by my own preferences.
With that said, this is MY list and it certainly
represents my own idea of the best music that
has been released in 2010. I would venture
that you will find far more independent art-
ists on this list than almost any other Chris-
tian based magazine or website out there.
However, I have also limited the choices to
releases by artists that would not deny that
they write, predominantly, for the Christian
SHUBB
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lyrics from Steve Hindalong and the terrific
1.Old Angel-Lost Dogs: melodies of Derri Daugherty.
Hardly a surprise for 5.Fallow Ground-Jan
those who read my gushing Krist
review in the July/Aug. Issue Long MIA for all but the
of CM. Simply the best al- most fanatic followers. Jan
bum yet by these veterans of the music busi- has been releasing folk/pop
ness and a stunning, folk/country/rock song gems sporadically since she
cycle that cuts to the heart of what it means recorded a couple of beautiful records on the
to seek after “The American Dream”. short-lived but fondly remembered Storyville
2.Suburba-House of label in the early 1990’s. This is full of tender
Heroes melodies, spare guitar-centric arrangements
HUGE album that and Krist’s wonderful tales of the human
merged modern sounds heart and it’s sometimes difficult search for
with classic forms and fur- truth.
ther cemented the formida- 6. Mosaic–Ricky Skaggs
ble talents of Tim Skipper, one of rock music’s Stunning set that
brightest lights. pushes stylistic boundar-
3.In Feast or Fallow- ies for Skaggs. His usual
Sandra McCracken instrumental prowess is
A simply brilliant takes downplayed in deference to the wonderful
on classic hymns but with songs of Gordon Kennedy and Ben Cooper
a conceptual twist. Subtle with single contributions from a couple other
electronic touches with writers. The songs certainly contain elements
rich organic instrumentation highlight some of Skaggs’ bluegrass roots, but they are merely
classic and new hymns done with lyrical and used for color, rather than as the template on
melodic integrity. Mosaic. Instead, pop/country and even 60’s
4.Burning Like the flavored rock make up an album that doesn’t
Midnight Sun – The really have one clunker amongst its 14 tunes.
Choir The lyrical focus is definitely spiritual as
This band’s finest record Skaggs calls this a gospel record. But along
since 1991’s Circle Slide. with simple declarations of faith are flesh and
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27
blood stories that paint the picture of God’s
providence, even in the most trying circum-
stances. “I’m Awake Now” features the lovely
vocals of daughter, Molly, keeping up the
Skaggs tradition of talented musicians.
7. Beautiful Things-
Gungor
The only worship album
in the top ten, Gungor
transcends the inherent
musical and lyrical limits of
the genre with one of the more varied proj-
ects on the list. Shades of Sufjan, Sigur Ros,
Israel Houghton (who guests on the record)
and Sunny Day Real Estate can be heard on
this expansive set. The real triumph is in the
songwriting: Unique chord voicings, soar-
ing melodies, exquisitely inventive arrange-
ments and Michael Gungor’s muscular guitar
playing are the main ingredients of this tasty
musical stew.
8. I Want Mine (The
Unavoidable Surrender
of Liberalism to
Socialism) – Rick Altizer
Another CCM hermit
resurfaces with a unique concept album that
merges politics and the entertainment busi-
ness in order to expose the inherent entitle-
ment that plagues our society. Emulating the
Prince/Stevie Wonder/Todd Rundgren model
of the one man band, Altizer comes up with
15 scintillating slices of pop/rock that are
highly influenced by the first (60’s) British
invasion and Psychedelia.
9. We Walk This Road-
Robert Randolph and
the Family Band
T-Bone Burnett pro-
duced album that dialed
down the jam band ethos
of prior releases for a studied walk through
Randolph’s Blues and Gospel roots. Originals
combine with wisely chosen covers that high-
light the social and historical significance of
Black music throughout the rock & roll era.
10. Donnelly Carter
Payne – Billy Cerveny
A little known Nashville
artist who claims member-
ship in the the Square Peg
Alliance of artists, includ-
ing Derek Webb, Jill Phillips, Andy Osenga
and many others, Cerveny impresses with a
biographical concept album of a Civil War
era infantryman and the social, political and
spiritual challenges of fighting and raising a
family during that sad time in our country’s
history. Cerveny’s fine voice accompanies a
strong heartland rock, folk and blues sound
that draws obvious parallels to the latter day
work of John Mellencamp.
28
The next ten:
11. Counting Stars-Andrew Peterson
12. The Law of Gravity-Andy Gullahorn
13. Downtown Church-Patty Griffin
14. Raising the Dead-Caedmon’s Call
15. Disappearing World - Fair
16. The Changing of the Guard -Starflyer
17. Horseshoes and Hand Grenades –
Disciple
18. Jet Velvet-Jetvelvet
19. Achor – Josh White
20. In the Middle of It-Waterdeep
5 EP’s not to miss.:
Let it Shine – Kevin Lawson
Travel I – Future of Forestry
Travel II – Future of Forestry
Travel III – Future of Forestry
The Night the Cumberland Came Alive –
Mike Farris and the Cumberland Saints.
Album's heard after compiling this list
that probably would have been included:
Flags – Brooke Fraser
The Better Angels – John
Francis
Shawn McLaughlin is a hard
working dedicated, tireless
worshipper of Christ
 ...for Christian musicians, leaders, songwriters, indie artists and
technicians to improve skill and inspire talent all to God’s glory!
for info & to register...
www.ChristianMusicianSummit.com
MAY 13 & 14, 2011
at the Chapel at Crosspoint
Buffalo, NY
Paul Baloche
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Norm Stockton Group
Audrey Assad
...with more being added!
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With the release of their new album,
Horseshoes and Hand Grenades, Disciple
enters a new era that, while featuring
original lead singer Kevin Young, now
contains an entirely new cast for the rest
of the band. Christian Musician Magazine
caught up with Kevin Young recently while
on tour and he filled us in on the new
lineup, new album, and his devotion to
Jesus Christ.
The original Disciple members formed
the band way back in 1992. It was difficult
for Kevin to see his longtime cohorts (Brad
Noah, Tim Barrett and later addition
Joey Fife) leave the band. Brad Noah
departed for several reasons, including
back problems that made touring difficult.
Tim Barrett departed for personal reasons.
“When the other original guys left that was
tough because it’s kind of like getting a
divorce,” commented Kevin. “I really felt
like I was married to these guys and with
them leaving, it was not easy. They are my
brothers and I love them and I definitely
miss them for sure, so it has been tough.”
In stepped the capable Micah Sannan
and Andrew Welch on guitars, Israel
Beachy on bass and Trent Reiff on drums.
“I loved Israel from the band Staple,” said
Kevin. “He’s a cool guy, a super nerd, my
kind of guy. There was no option number
two for me when it came to bass players, I
was going to ask Israel.
30
by Bob Waller
“Trent, our new drummer was our tour
manager/sound guy for a couple of years,
but he would get up on the drums and
mess around and we were like ‘how is he
so good?’ Trent shined and he fit right in
when Tim left.”
Replacing Brad Noah was perhaps the
hardest aspect of putting the new Disciple
together. “Replacing Brad was not a very
easy thing to do,” explained Kevin. “Brad
always did a lot of rhythm work and then
lead work over the top of that. I felt we
needed a couple of guitar players to do
what Brad had always done and there was
a lot of things we did on our albums in the
studio that we needed to do live and so we
started a search for two guitar players.
 “We had played with a band called genre term that addresses what people are We inquired as to what the lead singer
Falling Up and Micah was a guitar player talking about. Every other musical genre of Disciple feels is the best aspect of being
for them. We knew Micah and he could term addresses the sound. Whether the the front man for the band. “There are so
do back flips off his guitar amp and I felt term is blues or hip-hop or jazz or rock or many good things about it,” he answered.
we should ask him to try out. The question R&B or pop or whatever, it is saying ‘this is “I get to be surrounded by a great group of
put to me was ‘can he play guitar?’ And what the music sounds like’. But if you just guys that I’m with right now and just being
I said, ‘who cares? He can do back flips say ‘it is Christian’ it’s like, oh, this is what friends with them is amazing. I really love
off his guitar amp.’ The truth is that Micah they’re talking about. Everyone else has the opportunity that I get to share and to
is a really phenomenal guitar player. He the opportunity to talk about whatever they speak and I think that if I were to get up
wrote some great songs on the new CD. want to talk about and not be labeled, but if on stage right now in front of a thousand
Andrew is the second guitar player and we talk about God we get labeled. people and just speak, I think that a few
when we met him he was doing guitar tech “There are some artists out there that have people would listen to me. But for some
work for Pillar after being in previous bands been able to bypass the term ‘Christian’ and reason when Disciple gets up and plays
as well.” are very fortunate for it, like U2 or Lenny some songs and then I speak I can get just
Kravitz, who are able to talk about spiritual about everybody to listen to me. I don’t
Once Brad Noah left, Kevin began
things in their songs and not be termed know why that is, but it is the way it is and
questioning whether he should indeed
Christian. I would love the day when we all for some reason Disciple grabs people’s
carry on. “When Brad Noah left the band I
could do that, but at the same time I am attention and gives me the platform to share
really had a serious time of questioning and
not ashamed of the Gospel of Jesus Christ my faith in Christ with people. I think that
asking ‘is this my time too?’ Brad and Tim
and I am not afraid of that term but feel a is probably the best thing about being the
and I started this band together when I was
little pigeon-holed by the music community front man.”
sixteen and they were eighteen. When
Brad was leaving I really had to answer in being the only genre that gets labeled for Horseshoes and Hand Grenades
that question seriously…’am I going to keep what we talk about.” continues in the tradition of hard rocking
going, or am I going to go home too?’ I Disciple is certainly one of the hardest heavy music that Disciple has always
began to prayerfully seek God’s guidance rocking bands touring and recording today, offered. We wondered which track on the
in that and a couple of things happened. and Kevin Young is one of rock’s most fired album would Kevin Young consider the most
For one, a girl came up to me and told up performers. His passionate preaching is important? “From an industry standpoint,
me how she had heard our song After The evident most nights during the band’s live I would say Dear X - You Don’t Own Me
World, and she had her suicide planned set. We asked him why he finds it extremely is the most important song on the album
out right to the last detail and then heard important to quote Scripture on stage. because it has opened up new doors,” he
the song and gave her life to Christ and “Music is powerful and it moves you,” explained.
decided to live. And in that moment for me, began his reply. “It’s very ultimately true as “Someone at Columbia Records liked
it was like God saying ‘see, I need more of we are looking here at this picture of Toby the song and we have a relationship with
that. You’re not done.’ Mac on the cover of Christian Musician Columbia Records and they said ‘we think
“When I was 12 years old, and before I magazine, and I heard him say one time it’s a hit and we want to re-record it with
was a musician, a lady came up to me and something that just changed my life. I think Howard Benson and see what it can do
said that she felt that God told her I was he had heard somebody else say it, so who with Active Rock’. And so we just did that.
going to have a music ministry and was knows where it came from originally, but The song has a great message about being
going to go all around the world,” Kevin I heard him say ‘music is powerful and set free from your past.
continued. “I was playing Little League as a the Gospel is powerful and you combine “But from a spiritual standpoint I think
12 year old. I was not singing or anything, those two things and you’ve got the ultimate the song Invisible is probably the most
and yet that happened. And that was God powerful thing.’ important song on the album,” the singer
preparing me for the call he had on my life, “Romans 1:16 says ‘I’m not ashamed of noted, “which is talking about how you
and he reminded me of that when I was the Gospel of Jesus Christ because it is the may be invisible to the world, and the world
asking about going home. He was telling power of God and the salvation to those may not be able to hear you or see you, but
me ‘this is why you’re here and you are not that believe in it,’” said Kevin, “and that is God hears you and God sees you.
done yet’ and so I’m still here and I’m not true, so when we share the Gospel, when
done yet.” “I have met a lot of people and talked
we share bible verses with people I literally, to them about either cutting or depression.
Alternative metal, Christian rock, heavy in my spirit and in my heart believe that we I asked a kid one time, ‘why is it that you
metal, Christian metal. These are terms are sharing power with people; the power cut?’ His answer just blew me away, which
out there that have been used to describe to be free from sin, the power to have a was ‘because I feel like no one is listening
Disciple’s music. We asked Kevin Young relationship with Christ, the power to know to me.’ That is important to somebody, to
what term he uses. “Rock,” came the reply what life is really all about, the power be able to communicate.
as he laughed. “Just rock. I love and hate of truth, and the power of knowing the
the term ‘Christian Rock’ or ‘Christian direction their life was designed to head “We’re here on this earth, not meant to
Metal’. I love it in the fact that it says thein. be alone, but meant to have community
word ‘Christian’ because that’s what we with each other and meant to be loved by
“I believe that with all my heart. So me each other and when someone feels like no
are and that’s what we talk about and just saying something is one thing, but one can hear them and no one sees them,
we are all Christians and our faith is very me saying ‘this is my source of why I’m no one loves them, it really gives them this
important to us. And being a Christian we saying what I’m saying,’ then it’s not really sense of hopelessness. To know that not
feel that that is the answer to life and so weabout Kevin Young anymore, and it’s not only does somebody love you, but THE
want to share it with people, but not do it inreally about Disciple anymore, it becomes somebody loves you, and he not only has
a way where we’re looking down our nose about this source. I feel that is what we the ability to hear us, but he’s like anxiously
like we’re better than anyone else, but in a have wanted to be about since the very waiting to hear us…He’s wanting us to
way of love that says we have something beginning. We’re a band that points to speak to him, more than we’re wanting
amazing we really want to share with you. someone else. We’re a band that literally Him to speak to us…so when we realize
“But I also hate the term ‘Christian Rock’ takes glory and praise and defers it to it, that is a major turning point in a human
he continued, “because it is the only musical someone else.”
33
31
Disciple
being’s life to know that there is a supreme
God that not only loves them, not only has
the ability to hear them, not only has the
ability to see them, but wants to see them,
desires to see them, desires to hear them
and desires to love them…and that’s really
what the song Invisible talks about and so
from a spiritual standpoint I think it’s the me how he would take care of me. We
most important.”
Everyone has a different song writing
style and we wanted to know about the song
writing process for Disciple. “If I’m writing
a song and I’m writing the music I
usually start with the chorus,” Kevin
noted, “because I want to have a
good and powerful theme to talk
about and write around it.
“If the guys are writing music,
and we all wrote together on this
album, normally that will start first;
there will be music and then lyrics.
But it is different every time. I’ve
done a couple of co-writes. I wrote
Dear X - You Don’t Own Me with
an outside guy named Ben Glover.
I just showed up at his house with
no ideas and he sat down at a
keyboard and said ‘here’s a little
string part I’ve got’. He also had a
little melody. So I just started writing ‘dear
pain, it’s been a long time’ just as if we
were writing a letter to the things in our
past. It just happened. Sometimes you just
go in and it just happens.”
There is no question that the music
environment today presents major
challenges unseen in previous years, partly
due to economic reasons. We asked how
difficult it is for Disciple. “We feel like we
were called to do this and we’re all very low
maintenance guys and we don’t make very
much money,” commented Kevin. “Because
we are doing what we love to do, we’re not
really worried about it.
the Explorer and Veggie Tales. It’s about
cooking hot dogs and French fries and
having tea time. So that’s what my life is
about when I’m not performing right now.
I used to have hobbies and now I play
pretend kitchen with my daughter.”
Lastly, we noted that Disciple has been
nominated in the past for Dove awards and
had big hit records, but we wanted to know
what was most important to Kevin Young.
“The obvious answer is to see peoples
lives change,” he replied, “but it is good
to get awards and to be nominated. It feels
good and it gives you a sense of ‘these
are my peers and these are my friends’.
For example, Thousand Foot Krutch are my
friends and to be nominated for something
with them is a huge honor and to win
something feels really good. To go record
with Howard Benson is a dream come
true.
“But honestly, at the end of our life all
“If money is a big issue and you need a of those awards will be forgotten and all
lot of it to survive you are not going to be of those things nobody will remember. But
very happy doing this because right now if somebody came to our show, heard the
the music industry is at an all time low. Gospel, and their life was changed, that is
We don’t really worry about that. When I something that lasts for an eternity because
started tithing somewhere along the middle then it is a ripple effect because the person
of my walk with God, he began to show is probably going to change somebody
else’s life, and so on and it is going to be
would tithe 10% of our money to Him in an exponential result.
some way, whether it’s the local church, or
“There was a guy who came up to me one
charity, or whatever. Because of that we’ve
time and thanked me,” continued Kevin,
always seen God take care of us.
“and I think from that moment
changed me in the question of
what’s most important. He put it
so eloquently and he said ‘I just
want to thank you because now
my wife has a Christian husband.
She’s always had a husband, but
now she has a Christian husband,
and now my kids have a Christian
father.’’ When he said that to
me, that changed everything for
me because that was important
that an entire family had been
changed just by saying what we
say.
“We are not very serious
people. We play our show, we
get on the bus and play video
“We are constantly, as a band, in financial
need. We’re also constantly getting taken games and watch football. But there is
something powerful about the Gospel and
care of financially. I’ll open up our books
and I’ll be looking at them and asking ‘oh when you take time to share it with people
there is a God that is real that wants to be
man, how are we going to do this or that‘,
and then every month it always gets taken in people’s lives enough to give his son,
care of somehow. That being said, it’s all inJesus Christ, to die for us, and when people
the type of person. If you need to make a lotdiscover that, it is life changing.
of money, go to college and do something “We have the opportunity to share it, and
else, because we sure didn’t.” we do it and when that actually happens,
We asked the hard working, hard when a life is changed, there is nothing
rocking Kevin Young what he might be greater. Nothing. If we got every award
doing if he were no longer a musician? there is to get, and platinum records, and
The answer surprised us. “I have a two not one person’s life was changed, at the
year old daughter, and right now when end of my life I could honestly say that my
I’m not performing my life is about Dora life would be worthless.”
32
Product Review (cont. page 18)
processor is two and 1/2 times more power-
ful than an original UAD-1 card. One single
UAD-2 Quad is comparable to running 10
UAD-1 cards! That’s some serious power.
Universal Audio also makes a card with two
processors called the UAD-2 DUO as well as a
couple single processor versions, the UAD-2
SOLO and the UAD-2 SOLO/Laptop.
You can combine both UAD1 & 2 cards
and run up to 4 cards total in a system if you
have the extra slots, or use an external expan-
sion chassis. This is a great option if you want
to start out with a single lower price card &
add to it. All your plug-ins can be authorized
to use for all the UAD cards on your system.
The UAD-2 hardware comes in a cool box
containing the UAD-2 card, a CD-ROM with
all the drivers, software & pdf manuals. There
are examples for several DAW setups, plus a
catalog of all the UAD analog & digital prod-
ucts. Each box also comes with a $50 plug in
voucher.
There are instructional videos as well on
the UA website.
http://www.uaudio.com/media/videos.
html
In my personal studio I have a couple
PC’s in a racks running Nuendo & Cubase
& a Mac tower running Logic & Pro Tools.
I’ve had several UAD-1 cards in an expan-
sion chassis for a few years. The difference
between the UAD-1’s and the speed of the
single UAD-2 Quad was truly amazing!

Installation:
Installing the UAD software is pretty
straightforward. Please be sure to check the
UA website though since there are software
version updates all the time.
On the PC the faithful install wizard pops
up and guides you through the steps, and on
the Mac, well… of course that’s so easy!
After installing the software, you install
the physical card and restart. On the PC the
install wizard for new hardware & software
worked flawlessly for me. Next for Cubase &
Nuendo, simply open the VST plug in win-
dow & have it check for new plug-ins. Mine
somehow already found them during startup!
On the Mac tower running Pro Tools &
Logic the install was easy as well and both of
these programs found the plug-ins without
any trouble.
BTW: With the new Pro Tools 9 upgrade
you don’t have to worry about getting an
additional FXpansion plug-in delay utility
which is sweet! More about that at a later
date! Thank you Avid!

Authorization:
Next comes authorization. This can be
done on-line when you register your prod-
uct. To register & authorize on a Mac go to:
Finder/Startup Disk/Applications/Powered
Plug-Ins Tools/UAD Meter & Control Panel.
Continued on page 40.

33
Ask Joe
by Joe Riggio
Q
What are some of the basic
essentials for a guitar pedal board
and what sequence should they
be arranged in?
Pedal boards have become the norm,
A
these days. It seems every guitar
player has one. This demand
has spawned the largest array of
choices that the guitar world has
ever seen. There are pedals in every price and
quality range, so here’s a general overview of
my thoughts:
Price vs. Quality- Try to spend at least
into the “middle-of-the-road” category:
($75-$125 ea. street price) This would include
products from Boss, Ibanez and other well-
GET A GRIP
Never drop your pick again.
V-Picks
known proven com-
panies. It is of my
experience that the
examples from the
under $50 range,
although tempting,
tend to add noise
to your signal, even
when the effect is
disengaged. The
battle of noise from
accumulated ped-
als is challenging
enough, without
one pedal adding significantly, all by itself.
Upper-end or “Boutique” pedals are usually
well worth the investment and are well built
and generally more quiet that the cheapies.
Types and Flavors- Let’s boil it down to
the basics. Most essentials will fall into one of
3 categories; Overdrive/Distortion, Modulation
and Reflection/Ambient. Having one or two in
each of these categories will get you off to a
good start. It’s great to have the option of at
least one overdrive and one distortion pedal to
choose from. The difference is simply this:
overdrive is the same as distortion, but with less
saturation or gain. Modulation effects include
things like chorus, flanger, phase shifters,
wah-wah and effects that “color” the sound
very distinctively. Delay and reverb effects fall
into the Reflective/Ambient category.
Order in the Court- Keep in mind that
this can be subjective territory, but here is
Fantastic tone
Glides on the strings
Clings to your fingers
www.v-picks.com
34
what generally works well and will at least get
you started in the right direction. Try to keep
the OD/Dist effects first in the chain. They
react best when receiving their signal directly
from the guitar (or volume pedal if you’re
using one). This will make them feel most
like the natural distortion from a tube guitar
amplifier. Secondly, feeding the Modulation
effects, after OD/Dist. will maximize the
desired colors from them. Using these first 2
categories backwards will yield “muddy” and
“hazy” results from the Mod. effects. Keeping
Reflective/Ambient pedals at the end of the
chain will insure that their sounds are clear
and “wash clean” into your amplifier. Lastly,
a cool little trick is to insert a noise reduction
pedal just before the Reflective pedals. This
will reduce most of the noise from the previ-
ous signal chain without cancelling out the
Reflective effects, which tend to be lower in
volume than the main, or dry signal and can
be unintentionally muted, by having a noise
reduction pedal after them.
I encourage you to spend time both
listening personally and getting suggestions
from players whose tone you like. There are
thousands of choices out there and more
being added by the minute, so don’t get to
caught up in what somebody else says is the
“best ever”. Create your own tone palette by
going with what feels right to you.
Joe Riggio is a professional
guitar repairman/technician
and recording engineer, based
in Tacoma, WA. He owns
and operates “Service Guitar
Repair” and “House Of
Sound Recording Studio” He has a deep love and
knowledge of vintage guitars, as well as modern
and loves to share his passion with others. He
can be contacted at ServiceGuitarRepair@gmail.
com, website: www.ServiceGuitarRepair.com
 The Thunder Has No Voice
© Ramirez & Associates

’Til Kissed By Fire

Old Indian Proverb

H E L I X
Booth 5710 e What the NaMM JaM Is all aBout.
DeanMarkley.com e 800 800 1008
Multi-task Harmonized Scales
Welcome back to Guitar from A 2 Z for two octaves making it the tenth note from I encourage you to pursue this lesson
2011. I was recently talking to my friends the root note. This moves the 3rd note B (in in other keys and intervals’ over the neck
keyboardist Austin Biel and guitarist Shane the G major scale) to its octave B. Example 5 and see what new ideas you can come up
Patrick at the Covenant School of the Arts ascends up the neck, use a “Highbred Picking with. Till next time, keep your sights set on
in Lakeland Florida about working on your Technique” with a combination of a pick Heaven.
creative gifts and creative worship concepts. and your finger to pick the higher note. You
Practicing your instrument is a form of wor- can use your middle or ring finger, which- Roger is an award winning
ship! I want to encourage you for this New ever works best for you. Example 6 moves guitarist from the “Songwriter
Year not to procrastinate. We need to be across the neck, watch for the open strings. Showcase of America” has
diligent in prayer and worship and equipping Use “Fingerstyle” picking with your thumb been a member of the Audio
ourselves to be ready for spontaneous Holy playing the low note and your ring finger and Praise teams at Freedom
Spirit led worship. Reclaiming our gifts to cre- playing the high notes. You may notice part Life Church in Kissimmee Fl.
ate new sounds and songs yet unheard that of a Beatles tune in there at the beginning of and The Covenant School of the Arts in Lakeland
will touch the heart of GOD. the example. You may have also noticed that Fl. Endorses Greg Bennett Design Guitars by
In this lesson we are going to multi-task the 3rd is part of the triad chord construction Samick, G&L Guitars, BBE Sound and PedalTrain
with a harmonized scale using a Flatpicking, of “Root, Third and Fifth”, but that’s another Pedal Boards. More info at www.rogerzimish.
Highbred Picking and Fingerstyle exercises. lessons on its own for a later date. com, email: rogerzimish@yahoo.com
We will be using 2 notes harmonized in the
key of G Major, the root and third and
the root and tenth. The root is the 1st
note of the scale “G” and the third is the
3rd note of the scale “B”. Example 1 is
the “G” Major also known as the Ionian
scale in the open position, G A B C D E
F# G. Example 2 is the “B” Phrygian scale
open position in the key of G Major, B C
D E F# G A B. Using “Flatpicking Tech-
nique” play both one octave scales using
alternate picking “Down-Up”.
Now combine the two scales together
to make a harmonized scale in Thirds.
Example 3 ascends up the neck on the
low E and A strings. Example 4 ascends
up the neck on the G and B string. First
use a pick with all down strokes, and
then play it with your fingers. Use your
thumb to play the lower notes and your
index finger to play the higher notes
plucking the strings simultaneously. This
can also be known as “double stops”.
Examples 5 and 6 are in tenths:
The diatonic interval of an octave plus
2 degrees. In other words the tenth
comes from the scale when played in
37
10 Steps to Effective Practicing
Most Christians know it’s important to set
aside time for things that help you grow as a
Christian like prayer, bible study, fellowship,
etc. So if becoming a better player and musi-
cian is also important to you here are 10 steps
that have helped me and many others make
the most of practice time. Give them a try,
you’ll notice growth right away.
Have the proper material to prac-
tice. Stop playing the same things over
and over. Find a systematic study plan that
will challenge you to take your playing and
knowledge to the next level and inspire
creativity. (Obviously I’m partial to the great
materials at www.GuitarCollege.com and
www.99centGuitarLessons.com.) It’s helpful to
have 2 or 3 different types of study materials
such as technique, theory, chords, soloing,
reading, etc. to avoid boredom and frustration.
Organize materials for several practice sessions
so you won’t have to do it each time you sit
down to practice.
Studies show that using a music
stand while you practice helps you
learn faster. Probably because it is the most
comfortable and effective way to view your
material and avoid cramping in your neck,
back, shoulders, etc. Plus following along with
the material whether it is tab or notation will
improve your reading skills.
Create a practice nook and have your
materials and equipment ready to prac-
tice before you sit down to begin. Don’t
wait until practice time to hunt for your book,
drag out your instrument, practice log, etc.
Make it pleasant and inviting. Add a plant (re-
laxing) and pictures (CD or LP covers) of your
music heroes to motivate you. Keep things
neat and organized so it won’t be an eyesore
and you’ll look forward to returning soon.
Use a practice log to keep track of
your practice time and what you’ve
practiced. This makes you more accountable
for your practice times and you can see your
progress. You can also see what times and ma-
terials are most productive for you. Keep track
of metronome settings to use as a starting
point for the next practice and to gage your
improvement.
Practice daily! Some of us have different
daily routines and can‘t practice at the same
time each day. Study your schedule for a week
and chart out the best and most productive
times for each day for you to practice. It’s
important to plan your practice time and
material for at least a week at a time.
Small consistent units of time pro-
vide great results. We retain more informa-
tion from short regular periods of study than
from long irregular intervals. If your goal is
to practice an hour a day, three 20-minute
sessions is the most effective plan. After 20
minutes of practicing your retention decreases
rapidly. Short multiple sessions reviewing the
same material increases retention. It’s usually
easier to squeeze in two or three 20-minute
practice sessions throughout a busy day than
finding a full hour. Once you learn something
new then it needs to be converted to muscle
or finger memory. This takes time, have your
instrument with you while you watch TV to
work on your finger memory.
Use a timer, when the bell rings the
session is over. Once you get started practic-
ing it’s a real temptation to keep going even
when it interferes with other important things.
You certainly don’t want to feel guilty about
practicing, so put in your time and stop. If
you don’t you might say, “I did an extra hour
yesterday so I’ll skip today” Not Good!
Always use a metronome to develop
good time and to measure your progress.
Some say practicing without a metronome is a
waste of time. I tend to agree. Whether work-
ing on scales, chord changes riffs, whatever,
you’ve got to be able to play them in time. Use
the metronome to measure your progress by
keeping track of the settings. If you can play
an exercise at 110 bpm try bumping it to 120.
If you can do it great! Then move it up even
higher. If not go back to 110 and play it a few
times then try moving the tempo up till you
get it. This is the most effective way to learn
38
a piece correctly. FYI, get a metronome with a
deep tone, it’s harder to ignore.
Move on if you get frustrated. Don’t
spend so much time trying to perfect things it
frustrates you. Work it a sufficient number of
times and then move on. Some students prefer
to work through an entire book 2 or 3 times to
avoid getting stuck on something and becom-
ing frustrated. The difficult parts seem easier
when you come back to them. You may learn
something new in the meantime that makes
that tough part easier next time.
Make your recorder your best friend.
You’ll need some type of recording device.
You’ve got to get a realistic idea of what you
sound like and the recorder won’t lie to you.
Record every exercise and song you’re practic-
ing. The quality of the recording isn’t impor-
tant; go for the ease of one button recording
with no level checks. This way you play some-
thing short and play it back easily. Make sure
your metronome is audible when you record.
End each practice session recording and begin
the next by listening so you can work out the
rough spots. Listen for bad spots but also listen
for the good and the improvement. Don’t start
negative self talk, stay positive! Save some of
your old practice recordings and when you feel
like there is no progress, go back and listen,
you’ll hear the progress!
Practice these steps consistently press-
ing toward your goal. You’ll get results,
don’t give up. If God has blessed you with
a desire to make music do your best to
cultivate it and give it back to Him.
Till next time, may God bless your hard
work.
Rich has a 6 CD audio
program for learning, hearing
and memorizing music theory
called “Theory For The
Road” which can be found at
www.GuitarCollege.com. It
explains everything in detail and includes audio
music illustrations on keyboard and guitar, and
ear training.
Do You Know What’s Wrong
With Your Song?
by Bryan Duncan
If anyone offers a criticism of your song
that you have not already considered, then
you haven’t put your time in for success.
Granted, some of the most wonderful
songs were written without the slightest
effort. Indeed, some of my biggest tunes
have been afterthoughts. But I think that
phenomenon only comes when a writer is
so familiar with the process that it happens
without thinking.
Now, I know most of you have either
handed someone a demo tape or received
a few. And, if you are willing to listen, you
know what I’m going to talk about here.
Most of the time, there are so many vari-
ables to discuss about what’s not working
that you don’t know where to start talking
about it. I’m exhausted sometimes think-
ing about what needs to be fixed even with
my own material.
I was backing up some files of old
songs I wrote twenty years ago when “Glad
Morning” came up. Wow, what a great
chord progression! It was like I’d never
heard it before. But then I came in singing
and I thought, “No, that’s not it! Where is
this going?” The melody was memorable,
but the lyrics were so vague that I was em-
barrassed. And then, when I thought there
could be no more criticism about the song,
it hit the “hook” and I thought, “This isn’t
much of a conclusion and it doesn’t sound
believable. It’s emotionally detached.” And
I wondered, why could I have not seen that
when I was writing it? Then I remembered,
I had liked the sound of the title and tried
to fit my feelings to it. Well, I never got
there.
For a career that is more than a one-hit-
wonder, you’d better come up with more
than “You Are My Sunshine.” There are so
many elements to a well crafted song that,
should I think too much about it, I would
never write again. If you are going to be
good at songwriting, you will have to start
that first rewrite with this consideration:  keep the listener from
“What’s wrong with this?” I probably sing
the lyrics to a song in progress three thou-
sand times before I’m convinced that it’s
right. But there is always one more thing
that you could consider. Like visualizing
talking to a therapist at a hundred and
twenty bucks an hour!
If you compare any great song to
another great song, one will always lose
strength. Some of that can’t be helped
because songs call to different feelings of
empathy in the listener. Be true to yourself
and honest to your feelings. No one has
experienced anything in this life that has true self at the door because you might not
never been experienced before, but the way be “spiritually acceptable.” The agenda to
that you communicate it can be completely get the doctrine right and communicate
original. The attack, the structure, and the something approved of on the larger Chris-
way you say it can all be new. Sometimes tian platform, at least for me, turns songs
it’s good to imagine a character saying the one person might sing from the heart into
words if you can’t find it in yourself: “Is a recitation of some sort of bylaws!
this true to the character? Would he say it But then, what do I know? Thank God
like this?” we get to write more than one song, right?
The originality in a song must resonate Or should it be: “…write more than one
with more than just yourself if you want to song right!”
be heard. There’s a thousand ways to mess As a parting thought, remember what
up a song. Sometimes you can’t get out Dr. Theodore Rubin says: “The problem is
of your own way. It’s why co-writing has not that there are problems, it’s expecting
always been stronger most of the time in otherwise; it’s thinking that having prob-
this kind of work.  I’ll give you my biggest lems is the problem!”
weakness as an example: overwording! I
will use big long statements that tend to Bryan Duncan... CCM
deflect the emotions, which leave you busy artist for thirty years. With
trying to figure out what I just said. At least the Sweet Comfort Band,
three of my writer friends have commented then solo and now with the
on this tendency. The best comment was
Nehosoul band. Owner of
from a close writer friend who tells me all
the time, “You gotta dumb this down.” Red Road Records and Host
Another added, “Think Hallmark Cards of Radio Rehab at  www.radiorehab.com inducted
here.” And I’ll never forget one writer who into the Christian music Hall of Fame in 2007.
asked, “Bryan, why do
you feel like you have
to explain everything
in the first verse?”
Quality Comfort Style
Keep in mind the
style of music you
are approaching, of
course. Now, I think
you can get away with
verbosity in some
styles; maybe the
idea is to deliberately
confuse the listener,
or to force them to
listen hard – but even
there you have to have
reasoned out an in-
teresting collection of
words or phrases that
playing with their
cell phone. If done
well, it’s entertaining
to see how the words
create a mosaic of a
larger picture. When
it’s done right, it’s Def
Poetry!
But In looking at LONG 1131 W. Main St.
Franklin, TN 37064
Christian songwriting
as a whole, I think one HOLLOW 1-800-545-1181
of the biggest mistakes
is that of leaving your LEATHER www.longhollowleather.com
39
Product Review (cont. page 33)
On Windows go to: Start Menu>All
Programs>UAD Powered Plug-Ins>UAD Meter
& Control Panel
The UAD Meter & Control Panel has a
window for authorizations & will connect
you to the correct page on the UA site. My PC
rig doesn’t ever connect to the Internet for
safety reasons.
In this case you go to the authorization
page on the UA site & put in your Computer
Id and get everything done with the help of
a USB thumb drive going back & forth to a
computer with internet access. In under 10
minutes I was up & running.
Plug-Ins:
• The UAD-2 comes with several great clas-
sic plug-ins.
• The 1176 LN Limiting Amplifier (com-
pressor)
• The 1176 SE Limiting Amplifier (light
version)
• An LA-2A Classic Compressor
• A Pultec EQP Program Equalizer
• A Real Verb Pro Room Modeler (reverb)
There is an amazing assortment of award
winning UAD plug-ins available for purchase
as well including: Manley, Empirical Labs,
Neve, Roland, BOSS, EMT, Fairchild, Harrison,
The G7TH Nashville Capo
designed for accuracy & speed
www.G7th.com
In Pursuit of Excellence
Helios, Little Labs, Pultec, SPL, Teletronix and
more. What more could you ask for!
To make “all” things even better, UAD has
upgraded their GUI interface to show which
individual UAD card is running (up to four
cards), and how much capacity is available on
each card. They have improved the plug-in
preset management so you can now copy
individual plug-in settings back and forth
between SE (light) and Full versions of the
plug-ins.
The small UAD Meter icon will show up
on your Dock(MAC) or Toolbar(PC).
The UAD Meter does not have to be run-
ning for the plug-ins to operate. Three gauges
show the UAD-2’s approximate DSP load,
onboard Program Memory remaining, and
UAD RAM storage. By simply clicking a but-
ton you can also disable all plugs running on
any UAD cards on your computer.
Live Track Mode:
The UAD-2 now has Live Track Mode,
which reduces latency on an active UAD-2
plug-in to the lowest possible amount by dis-
abling the buffering. This feature is for use in
a “live” performance mode where you want
a plug in to use while recording. There is a
noticeable difference in the amount of buffer
latency with Live Track mode on when you
are recording. If you want an LA-2A on your
40
vocal or some nice reverb while recording
or doing something live it’s a nice option. I
suggest you disable all other plug-ins on your
system to help with the increased CPU load!
As far as computer plug-ins go the UAD-2
“is” the state of the art choice. If you don’t
already own a UAD card you will find the
investment to be well worth the price. Your
mixes will sound more professional, and
since the plug-ins so faithfully emulate the
actual analog equipment, you will be able to
learn how and why they work in a real world
setting. This will help make you a better engi-
neer, producer & all around musician. To be
able to have virtual racks of the best high-end
vintage gear that sounds this good is truly
amazing! I give the UAD-2 five stars for qual-
ity ease of use & innovation! I can’t imagine
working without them.
The UAD-2 Quad lists for $1899.00 street
price $1499.00.
The UAD-2 Duo lists for $1149.00 street
price $899.00
The UAD-2 Solo lists for $649.00 street
price $399.00
The UAD-2 Solo laptop is $649.00 street
price $499.00
The cards all come with Lifetime Tech
Support. Nice touch!
www.uaudio.com
The Capo Company
 Come
See usM
at NAM
Booth
3491
The Passion of Play ing
an Interview with Guitarist
Chrissy Shefts
by Aimee Herd

This past November, at the Christian Musician to bottom, on the guitar- the
Summit at Overlake in Washington, I was privileged to solo, everything. I’ve had
be introduced to guitar player, singer-songwriter, Chrissy some girl guitar players come
Shefts. While her name may not be as well-known as, up to me and ask, “How do
say... Nancy Wilson, she has recorded with her—and you learn the solos?” It just nev-
Heart—and her musical gifting and talent have carved er occurred to me that I couldn’t!
out some other pretty notable works. I guess this is what gave me the
In fact, this Seattle native—a session guitarist boldness to insert myself in that world. I
for 20 years—has also recorded with Rod Stewart, don’t really know why there are not more
Belinda Carlisle; she played all the guitars on Seal’s women playing electric guitar, maybe it’s a
“Crazy” which won a Grammy. Chrissy has worked social thing.
with Trevor Horn, Hans Zimmer... and she’s done AH: Well, as you’ve done that, have you
film and TV session work as well, with music encountered any mindsets that were inhibit-
from “Days of Thunder”, “Bull Durham,” “The ing at all?
Accused,” “NFL Preview,” “Solid Gold,” and that CS: To be honest, not really, not from
list goes on. reasonably intelligent people. Once you start
Right now though, Chrissy has been writing playing, that speaks for itself. Either you’re
and recording, and she talked about that... good or you’re not. Especially in the record-
Chrissy Shefts: Primarily, right ing world, where they can’t see whether
now, I’m back to composing. I’m a song- you’re a guy or a girl, it doesn’t matter.
writer* and I’m a singer by default, be- You just have to be good. So, I’ve always
cause someone has to sing the songs I write! I’ve striven for excellence, not mediocrity.*
had a couple of songs placed, and I just love it; the Not that I make it there all the time.
compositional aspect is so much a part of my spirit. (Laughs)
So, I’m writing and recently I’ve gotten a job doing AH: Can you give a little
some TV cues, which is creating music for certain advice to an up-and-coming
TV spots. That’s perfect for me, because it’s creating female electric guitar player,
little landscapes of color and different moods, which who is maybe feeling a bit
I love to do. daunted by fact that she’s
Aimee Herd: Chrissy, you play an instrument— in the minority with
electric guitar—that seems to have been dominated that?
by male musicians. Has that been a challenge for you? CS: I’d advise
Talk a little about being a female electric guitarist, and her not to let
any hurdles you’ve had to overcome in that regard. that be a factor
CS: I was talking with someone about that the other whatsoever.
day, and the funny thing is that I had never thought Each artist
about it. I was born this way, and I never knew anything has certain
different. When I learned songs from an artist like Jeff insecurities,
Beck or Santana, I would learn the whole song, from top especially

Chrissy rocking in the 1980’s

42
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 as a player. Am I good enough? Or am I “as
good as…?” Comparison can really kill you,
so don’t compare yourself to anyone else. Just
play what you enjoy, as long as it’s fun for you.
Don’t think about the ultimate outcome [enjoy
the journey].
AH: How do you go about crafting a song,
Chrissy?
CS: Songwriting usually seems to just come, maybe
from God, because I have no idea [other than that] where
it comes from. A melodic idea will come to me, and many
times I’ll hear the whole composition, parts and everything,
in my head. That happens a lot. But then I’ve also gone
through very dry periods where nothing comes. Sometimes,
I’ll get inspiration from hearing someone else. I love it when
that happens. I’ll take the inspiration home with me and then
it emerges as something different.
AH: Who were some of the artists who impacted you as you
were forming your style?
CS: Well, Jeff Beck is the reason I play guitar! He’s still my
favorite. I like all genres of music though. I guess I started out
leaning more toward rock, then I went through a jazz period. I
played a lot of funk, and I’ve gone through all styles of music;
I love everything, so it’s hard to say who has been my favorite
[besides Jeff Beck]. He was my main influence along with the Brit-
ish Invasion. My mom took me to see The Beatles, and the Kinks.
That was pretty influential for me too.
AH: As a person is learning to play electric guitar well,
would you say it’s important to sample all the different styles:
jazz, funk, rock… so you have a more well-rounded idea of
what’s out there?
CS: Well ideally, yes, but if you’re interest really
doesn’t lie in one of those styles, then there’s no real
point in immersing yourself in it. You can learn many
genres of music, but learning to play the guitar as a
well rounded guitarist doesn’t require that you know
all of the styles. It’s more the knowledge of the gui-
tar, and technique.
AH: So, it needs to be where your passion lies…
CS: That’s the most important thing, because if
you’re not enjoying it, and it’s not fun [then you’ll
lose interest]. What motivated me was my love for
music. I had to do it.
AH: Talk about your gear for a moment; what
do you like to play, what do you prefer, and what
have you found to be the best for what you do?
CS: It’s interesting... recently, I changed up
some of my vintage gear. I was carrying around
4x12 Marshalls from my touring days on the rock
tours. So now, what I’ve found, that I’m really loving,
is my Fender Blues Junior, and I also have a ‘63 Strat and a
James Tyler that I love. I’ve really scaled down, and I have
a lot of analogue effects. I’ve definitely been getting back
to the real “organic” kind of sound. I like playing just
straight guitar without a lot of effects. So, just kind of
stripping things down is what I’ve been doing, and I’m
really enjoying it.

44
 AH: I’ve been hearing that same
kind of direction from a number of
musicians—just cutting out the extras
and simplifying.
CS: Well, it’s kind of getting back
to what’s natural. The guitar can
become so camouflaged by distortion
and effects that it could be anybody
playing. But when you’re naked there,
your personality, your heart and your
spirit come* out in your playing.
AH: Chrissy, talk a little about
what God’s been doing in your life.
CS: God has done an amazing
Chrissy with our good friend Gregg Bissonette at the Summit
thing in my life. Back in 1995, I had a
series of events happen in my life all
at once that caused me to fall pretty hard. I
lost my parents, and then my best friend in a
horrible accident. I lost my health, and nearly
my life. I existed numbly for a few years, try-
ing to get my life back together. But I felt like
I would never play music again.
During that time, a couple of dear friends
led me to the Lord. In 2004, another friend
introduced me to the Vineyard church where
I got baptized. It’s so amazing what God can
do with a broken soul and spirit. I began
playing on the worship team.
The thing that worried and scared me
still, though, was that my love, passion and
desire for music was gone. Where I had once
been prolific, I now felt like an empty shell.
At that point, I wondered if I was finished
with music. That was terrifying. Music had
been the only thing I had ever done and it
had been everything to me.
Since my usual coping mechanism, drink-
ing, was no longer an option for me, I began
to pray. I prayed every day that God would
let me know—give me some sign—that it was
His will for me to continue in music. The
hardest thing was truthfully and totally let-
45
ting go of my desire or wish. I did this
for quite a few days, not feeling any
different. Then, out of the blue, I got a
phone call from a producer in England
with whom I had done very successful
work in the past. He had gotten my
phone number from a salesman at a
music store, who was another musician
from The Vineyard!
He asked if I was available for a
session. I felt totally out of shape, but I
said yes. That, to me, was God saying,
“Do what I gifted you to do.” I didn’t
get that answer until I had gotten to
the point where I was willing to give
it up. Since then, it’s been so different
for me.
Now, when I do what He has gifted me in,
the difference is, it’s ultimately for His glory.
No matter what arena or platform I may play-
ing from. My life is fuller than it’s ever been,
and musically, I feel more accomplished, and
rewarded. God is just rewarding me ten-fold,
with the people I’m surrounded by musi-
cally and in relationships. What I do is only
a small part of who I am, but it’s part of who
He made me. God has given me a life.
Visit Chrissy’s MySpace page at: www.
myspace.com/chrissysheftsmusic
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CODA
Community: Life Blood
for the Songwriter
by Cindy Wilt Colville
It is important for songwriters to cultivate
and nurture their own creative community
for the development of their craft and to
ensure a productive and successful songwrit-
ing career. Community enhances creativity;
art does not truly exist until it is expressed
and shared.
“A bell is no bell till you ring it,
A song is no song till you sing it….”
— Oscar Hammerstein II
Songwriters thrive in community. Isola-
tion is the kiss of death.
I want to talk about three important
benefits to be found when writers organize
themselves into a creative community. Trust
me when I say there are many, many more
benefits where these are found, but for now:
Inspiration, Accountability and Produc-
tivity.
Inspiration fuels and sustains the act
of writing. In community, songwriters gain
inspiration through the sharing of their ideas
while engaging the ideas of another fellow
writer. This camaraderie and natural encour-
agement is vital and life giving. Because each
member of the community is a resource for
inspiration, the songwriter has access to a
broader scope of life experiences, stories and
imagination.
Most songwriters do not have a publish-
ing contract that requires that they write a
certain number of songs a year. They don’t
have a songwriting coach, like myself, provid-
ing them weekly assignments, song meet-
ings and creative feedback. However, when
a group of songwriters form a community
they engage in one of the key motivators
of creative development: Accountability.
Establishing a songwriting community is a
great opportunity for songwriters to provide
the same encouragement and accountability
that a publisher or coach can provide. All
over the country I meet songwriters who are
looking for other songwriters to collaborate
with, to provide a safe place where they can
share their songs, their struggles and ideas.
Songwriters thrive when they find a commu-
nity of like-minded people who encourage,
inspire and challenge them to finish songs!
The desire to express and communicate
ideas, emotions and a passion is what moti-
vates songwriters to write songs. Community
not only provides an expansion of sources
of inspiration and valuable accountability,
Community will bring about greater Produc-
tivity.
Every member of a community, like every
member in the body, is the sum total of their
unique gifts and individual experience. I
know that each and every combination or
group of writers multiplies the available ideas
and sources of inspiration. Every member
in the creative community holds the feet of
his or her co-writer to the fire of the work
at hand just as surely as their own feet are
being held as well. Inspiration is the energy
source of the writer’s desire. Desire coupled to
Accountability is the great motivator. It is a
simple chemical equation, really. Inspiration
and accountability lead directly to Produc-
tivity. Productivity may be measured in
completed songs, maturing craft and style,
expanding collaborations and fruitful co-
writing relationships.
You may question: does this community
really work? My point is not to make a magi-
46
cal guarantee, rather to say this: the life of a
songwriter does not work very well without it.
In 2010, I participated in all of the
Christian Musician Summit’s Songwriter Boot
Camps (www.christianmusiciansummit.com).
I regularly speak with songwriter groups all
across the country and the consistent mes-
sage I hear from songwriters is that they are
longing to connect with a creative commu-
nity.
There are songwriting organizations
already in place such as NSAI (Nashville
Songwriters Association International), the
American Christian Songwriters that also sup-
port local chapters. You may read on my most
recent blog (http://asongwriterschampion.
blogspot.com/) where I talk about local and
regional groups and list a number of other
songwriter organizations.
If there are no organized songwrit-
ing groups in your area I encourage you to
take the initiative in establishing your own
creative community. Some ideas on finding
like-minded songwriters would be to post an
inquiry on Craig’s List, contact worship lead-
ers of churches in your community or send
out a Facebook message to all of your friends.
A next step would be to secure a “free”
location that is songwriter friendly such as
a church, coffee shop, any location where
live performances are welcome. Once you
have established your group the real work of
working and supporting one another begins.
You may discover numerous opportunities to
bring in guest speakers, stage a writer’s retreat
or engage singer/songwriters who are doing
concerts in your area. There will be many
opportunities to share with groups in nearby
towns as well as networking with other song-
writing communities around the country.
I would always be interested in hearing
from you, whether you take the initiative and
establish a songwriting group or already have
a group working in your community. We
truly do need each other.
Cindy Wilt Colville is a
creative music publishing
consultant providing
songwriters with songwriting
development, song
catalog assessments and
career consultation in addition to facilitating
songwriting workshops and retreats throughout
the United States and Canada. For more
information visit: www.cindywiltcolville.com.
Follow Cindy on Twitter: www.twitter.com/
songchampion.
BREAK
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