Blogging here on the fly – nothing pre meditated – Just finished recording all the audio for my new solo guitar album “Waiting on the Lord” – I am so overjoyed!
I originally set off recording the album as solo electronic record. It was to be a testimony album; portraying the current season my wife and I are in – both of us out of college, trying to get both our careers started, move into a new home and stand on our own two feet so-to-say, all while deepening our relationship with each other and our heavenly Father as we look Him to move mountains.
With problems in the recording & performance process – dealing with equipment and software that was both too unpredictable and unreliable – I set off to re-work the album for solo electric guitar & loop machine.
I dug into the capabilities & idiosyncrasies of using delay and loop machines dynamically with distortion in a minimalist manner making the most of musical motifs, layering, and compositional shape. Using only notes on staff paper and rough-sketch recordings, I composed and recorded the album over the course of Spring & Summer 2012, both loving the project, and hating the whole process at the same time. The result is a very real & organic soul-bearing solo guitar album. No multitracking; only piecing different sections of composition together at it’s most technical aspects; if not recording the whole song in a single take.
Waiting on the Lord is now in the process of a very minimal editing & mixing process to maintain its authenticity & minimalist nature and will be available in the rather near future.
I’m a huge fan of ambient textures and their use in post rock, progressive, & experimental genres. I’ve found that these textures are functional in worship; however, the content of the ambience can’t be the same.
English: Close-up of the Transducer inside a Spring Reverb Tank. Català: Detall del Transductor a un contenidor de Reverberació de molles. (Photo credit: Wikipedia)
When using a guitar ambience, or any effect during worship, you don’t want the focus to be on you or your crafty sound, but rather the prayer, meditation, or sermon you’re augmenting. The ambience serves as a foundation & often a transition point for worship no matter where it occurs in the service.
In this setting, to not take any glory away from the Holy Spirit – I keep my ambience settings to not much more than reverb & delay in conjunction with a volume pedal. In my settings below, you’ll notice I do use a mod delay as well as a light, slow oscillating, phaser; however, it’s barely noticeable in the video clip below.
Here is a sum of the settings I use to achieve this effect.
Light Crunch – About 11 o’clock on Drive & Bass, Mid & Treble at 12 o’clock
Spring Reverb – 100% mix, 80% decay, pre-delay about 150ms
Analog Chorus – Speed about 0 or 1 (an extremely low setting), 70% deep, about 50% mix
Analog Delay + Mod about 670ms decay, feed back about 80% (definitely keep high), mod setting (if available) very low 0 or 1, 75% depth, mix 80%
‘too loud’ for your congregation; especially playing in a band that is highly improvisatory & dependent on the Holy Spirit. Here are some things I try to develop in my guitar tone to best suit the needs of the band & congregation.
Clarity – Can you distinguish all 6 strings in a bar chord? If not, your distortion may be either too heavy, grainy, or saturated. Get it to that point where it sounds clear & resonant at the hardest you’ll be playing.
Sustain – How well do your single notes carry? In other words, how long does the note last after you’ve picked it and you’re still depressing the string to the neck? If you have trouble keeping your gain/distortion low enough for clarity, yet maintaining a decent sustain, try pairing your distortion with a good-sounding reverb or tape-delay.
Warmth – As a preference – I like warm guitar tones better – and it will vary between your amp + whatever effects/distortion you’re using. Be aware of those ‘low,’ ‘mid,’ and ‘high’ knobs; they do work in crafting the tone that suits your needs.
Versatility For getting the most out of a distortion – I like to use velocity as a variable. Velocity is more of a synthesizer/midi term meaning how hard you attack/pick/articulate the note. In this instance, playing with more velocity will create a heavier distortion & less velocity will yield a cleaner sound (less distortion) I feel having this characteristic in a distortion to be favorable because of the following; 1). I’m not pressing so many stomp boxes for every song section. 2). I can easily adapt to the improvisation & fluctuation of dynamics during worship just by changing how hard I’m playing. 3). I can focus on changing effects (chorus, delay, phaser) for subtle changes instead of the abrupt & sometimes awkward & unfitting heavy/soft distortion.
Buzzless – Stay away from distortion units/effects that cause a buzz whenever you
SWR BASS 350 RedFace (Photo credit: jovino)
stop playing. There’s no better way to sound like an amateur or distract others from worship than with an annoying buzz. Also, in regards to this – other causes of such buzz may be your amplifier, pickups, occasionally bad cables, and even cellphones (a la, Blackberry often causes radio interference near cables, amps, & other audio equipment).
In terms of what distortions I really enjoy, check out the below couple of links for some really good & favorable examples.
The 2007 debut release Progressing Deviation is now available for free digital download on NoiseTrade.com For those of you who have had the joy of listening to More Than Ever– it’s truly like a prequel with several killer tracks and some epic compositions and aggressive guitar work all-around.
As a guitarist, it’s easy & quite likely to have malfunctions or surprises come Sunday morning – And it’s frustrating to be troubleshooting equipment problems & frantically running around looking for a quick fix instead of preparing for the upcoming worship service.
Photograph of Sound Recording Equipment from the Division of Motion Pictures, 1941 (Photo credit: The U.S. National Archives)
Here’s a list of things I like to have on me every Sunday morning
Pen – I cannot emphasize enough how important it is for all musicians to have a writing utensil on them during rehearsal. It’s so important to make note of that upcoming key change or impending a capella section. Don’t be that musician.
Staff Paper – Not a necessity for every musician, like those who don’t read music, but often I’ve had to transcribe something from a recording or from another musician to use during the service. So, to avoid the risk of forgetting the musical passage, the staff paper fixes all.
Extra Picks – Kind of a no-brainer; however, you don’t want to find yourself bending & twisting your old university ID card in attempts break it & to turn it into a picking device. Yes… I’ve done it.
Extra Cable – You never know when you’re going to get a short in that quarter-inch cable you’ve been using for the past 5 years. Best to keep a spare!
Filed Sheet Music – If you serve at a smaller church, like myself, and are responsible for keeping up with your music. Invest a couple of bucks into an accordion style folder that has those alphabetized tabs – After being handed that setlist, it’s proven to prevent headaches!
Extra Strings – Almost a no-brainer, but I’ve been nearly late to leading worship at Life Group because I had to run to Guitar Center to grab strings after breaking that high E. It’s best to keep a set handy at all times.
Tuner – Not something I keep on me because my pedal board and acoustic guitar have one built in, but you should have access to one! Definitely have the pianist give you a reference E if you find yourself without a tuner.
Batteries – Does any of your equipment run off these? Your pickups, wireless device, fx pedals, tuner? Better add this to the grocery list.
Audio Recorder – For a while when I had borrowed one (from a friend…for a couple of years), I’d often bring the audio recorder to set up next to my monitor or amp for reference. While the Spirit may over come you during the service, it never hurts to check the audio recorder at home after the service for some things you can clean up in your playing.
Extra Guitar – This is just something that I do that I thought I’d mention if you have the means. A lot of churches are made up of volunteer musicians, and often, I don’t know if I’m playing with an ensemble made up of ‘bass & drums’ or ‘acoustic guitar & djembe.’ So, it certainly makes a difference to have the option of my acoustic over my electric if need be for orchestration purposes.
Worship – Not an item, but a way of preparing yourself. We’ve been taught to already be worshiping when we show up. Whatever that may be for you, get your heart there. Don’t forget, you’re lead worshipers; therefore, you should be worshiping first!
Bible – Just sayin.’ For the King.
Are you a worship musician? What are some things you find essential for Sunday morning?
Over the years of playing guitar for worship services/bands, I’ve come across a number of effects and techniques that I’ve incorporated into worship that have proven very effective musically. If you play guitar for your church, even if it’s acoustic, you’re sure to find some goodies here!
Looping – I am the biggest advocate of incorporating this into a guitarist’s repertoire. Loops machines are especially useful with how repetitive the chord progressions are in worship music, it’s super effective to build upon yourself, especially if you’re part of a smaller worship band. But, you have to be tight & stay on that beat!
Phaser – While you shouldn’t turn it completely up in your mix OR make it oscillate too fast, it’s a great way to change the dynamic between a verse and bridge. Personally, I put it at about 50% mix and have it move just above the slowest setting to kinda get that HP (high pass) filter swirly effect.
Say…Wah – The Wah Pedal can be so cliche sometimes BUT, if you use it to simply to change the filter without pushing the pedal up & down so often – it offers a great texture change, especially in combination with a delay. Zakk Wylde has been known to keep the wah completely forward to give his solos more presence.
Swell – There are single effect units that accomplish this, but I’ve found using a delay & a volume pedal (or even your volume knobs) works great. This is great during response times while the pastor is still speaking or even above a slow but solid bass & drum foundation.
Tremelo like a Rhodes – If you’ve ever heard a Rhodes Piano using tremelo, you know what I’m talking about. It’s very easy to make a clean guitar sound like this using a Bias tremelo effect. – Probably one of the most unique & accessible things you can do to help bring people to the intimate place in worship. – Here’s an audio reference of a Rhodes – ‘Portishead – “Roads“
Harmony – One of two ways you can do this. Harmony FX are manufactured as single pedals and are even part of multi-fx pedals like my POD HD300. You can change the key and should be able to seamlessly perform melodies with automated 3rds, 4ths, octaves..whatever. Another way to do is – refer back to #1 – Play a melody – loop – play its harmony & booyah!
E-Bow – A wonderful invention. Period. The E-Bow is a device you use, almost like a pick; however, only above the strings over the pickups to create a controlled-feedback of sorts. The result is almost like a synthesized string sound. Indeed, it’s a cool tool for the guitarist seeking a wider palette. Here’s a video reference – Phil Keaggy – Amazing Grace
Sonar Style Delay – It’s hard for us guitarist to simplify things sometimes… perhaps only playing one note every 2 measures? Achhh- BUT it’s effective, especially using a delay that’s in sync with the tempo. Minimalism has its advantages – and gives you a lot of room to grow. Check out the use of the single note delay used above the band’s texture in Hillsong Live’s – Love Like Fire
Octave Displacement – What? Oh, A Whammy Pedal – Very similar to a wah pedal in its physical feel, it controls pitch. Oftentimes, the pedal/effect will allow you to choose the range, such as octaves, 5ths, sub-octave. It isn’t all that practical for chords, but it sings so well and is a game changer for single-note melodies and solos!
Slide it! – I most certainly don’t hear enough guitarists implement this into their playing, and you don’t have to play country or blues to appreciate it. What other way can you totally negate the fact that you have frets? That’s a huge texture change & it can be implemented with any number of effects. In fact, John Mark McMillan’s ‘How He Loves‘ often features a slide.
Do you have effects or techniques you use to switch things up in praise of the King? Even if it isn’t for guitarists explicitly, Don’t forget to share it!