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Burlap to Cashmeres

Long Awaited Return

Product Review

BOSS RE-20 Space EchoSEPT/OCT 2011 Volume 16, Issue 509

Spectrasonics Omnisphere 1.5 Virtual Synth

Product Review

Selective Hearing

Burlap to Cashmere Dominic Balli Blindside Royal Tailor Abandon Josh Garrels Ginny Owens

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Songwriting: Morgan Cryar

Coda: Dwayne Larring

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Features8 Bassic Communication by Norm Stockton Intro to Solo Bass Arranging (Part 7)

CONTENTS34The Indie Mechanics by Keith Mohr & Sue Ross Mohr Can You Hear Me Now? 36 The Fretboard Less Traveled by Rich Severson 38 Ask Joe by Joe Riggio 41 Guitar From A2Z by Roger Zimish Leonard Jones - the Levite of Praise - Part 2 44 Rethinking in a Relative Minor Key by Bryan Duncan 46 Coda: Who Are You? And What Do You Have to Say? by Dwayne Larring

Escape - A Musical Term?Back in college I studied four-part musical harmony with a book written by Walter Piston (Harmony published by W. W. Norton and Company still in print even). My background in music theory up to that point was pretty much garage band stuff. I had no real sense of what the harmonic foundation was beneath the songs of the day that we were trying to learn. When I walked into the music department in college I could barely read music at all. In fact, I remember taking a test and while writing in the answers I would be looking at the music staff lines and inside my head reciting Every Good Boy Does Fine so I could figure out where to place the note B. Not to mention I played guitar and the book taught from the piano only. That was two strikes against me. I was clearly behind much of the class, but I persevered and worked my way through the drill master approach of Walter Pistons book. I remember one musical term that he taught that has always stuck with me. It is chappe in French, but its English translation is Escaped. Going from memory here is means when a melody line goes from its tonic note and moves an interval away - say from middle C up to G and then turns around and heads back towards the first note, say landing on F. It is like the melody line was trying to escape by leaping up an interval but was turned around and headed back towards home. In Pistons world it was like a prisoner who escaped from prison but was caught and was being brought back towards the jail. I was driving the other day and started to think about this use of the term. Actually it would have been better terminology to call it the repentant instead of chappe, as it was leaping out on its own and figured out that it needed to change its ways, turned around and head for the home base, or tonic root note. I am grateful I survived the music theory course. Remember, theory is good for you just keep telling yourself that and you will be fine its like vegetables, or like having fruit for dessert instead of a candy bar. If you practice music theory it will pay off for you. And even if you break the rules of theory at least you will know why something may still sound good (like parallel 5ths; in rock they are totally allowed, but in four-part theory your grade suffers for using them). When Im noodling on guitar working on a riff (or a melody line in Walter Pistons language) I still think about adding an chappe into the mix. As a devotional point there are some simple but profound parallels here for us to apply in our own day-to-day living. Ill let you draw your own conclusions, but I need to think of my life as a fluid melody line that at times needs to catch itself, be reminded of who it is (and whose it is), turn around and head towards the tonic, or root, of my own salvation which is in Jesus. Oddly enough, one of the names for Jesus in the Old Testament is the Root of Jesse. OK, maybe its too much of a stretch to call it the musical tonic root of Jesse, but its still neat to see that even in music theory you can find something to inspire you devotionally. Lord Bless Ya! Bruce & Judy

10 Guitar Workshop by John Standefer Rescue the Perishing 12 Drumming Dynamics by David Owens Rhythms of Grace 14 Vocal Coachs Corner by Roger Beale Uncover the Wow Factor 16 Product Review by Michael Hodge BOSS RE-20 Space Echo 18 Show Us Your Groove by Morgan Cryar The Secret Songwriting Groove 25 Thoughts on Arrangements by Matt Kees 26 Selective Hearing by Shawn McLaughlin Burlap to Cashmere Dominic Balli Blindside Royal Tailor Abandon Josh Garrels Ginny Owens 30 Product Review by Michael Hodge Spectrasonics Omnisphere 1.5 Virtual Synth

Interview

20 Burlap to Cashmeres Long Awaited Return by Aimee Herd

4227 S. Meridian, Suite C PMB #275, Puyallup Washington 98373 Phone: 253.445.1973 Fax: 253.655.5001 Email: bruce@christianmusician.com Website: www.christianmusician.com Editor & President: Bruce Adolph Vice President: Judy Adolph, judy@christianmusician.com Customer Service: Brian Felix, brian@christianmusiciansummit.com Street Team: Mike Adolph, Jesse Hill & Winston Design & Layout: Matt Kees Copyediting: Kevin Wilber, Toddie Downs Accounting: Debi Davis Advertising Sales: bruce@christianmusician.com Published by the Adolph Agency Inc.

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7

Intro to Solo Bass Arranging (Part 7)Allright! After many installments setting the the part look a bit scarier than it actually is, so stage for our solo bass arrangement, today we dont be intimidated! dive in headfirst to the actual execution! If you compare this transcription with the For those of you just joining us, weve charts from Parts 1 and 4 of this series, youll been discussing the harmonic, melodic, and find that were simply combining the melody rhythmic aspects of building a simple solo and chords weve previously covered and arrangement, and how going through such an assimilated. The tied notes are just reflecting exercise (while being loads of fun!) can also the fact that were plucking chords and be really helpful for our overall musicianship. arpeggiating some of the figures to give Weve been using the traditional Christmas motion, subdivision, and accompaniment for tune, Angels We Have Heard On High the melody. Remember, were 100% of the (Gloria). music now, so its all up to us! :^) By the way, this entire arrangement only involves fingerstyle technique and plucking. I generally use the fleshy part of my thumb for the low string and my index & middle fingers for the higher parts. Youll notice that this arrangement is well suited for a one-finger-per-string approach with the plucking hand (i.e., thumb=A string, index=D string, middle=G string). For this manner of chordal playing, youll want to ensure that your plucking fingers dont rake into (and inadvertently mute) a lower string that is supposed to be sustaining through the Today, well cover the verse section. As is Play it as slowly as you need to, and it will passage. frequently the case, the transcription makes come together after a few passes. As always, the 8va indicates that the notes are played an octave higher than written.

Bassic Communication Intro to Solo Bass Arranging (Part 7)

Have a blast and see you next time! (Adapted from curriculum in the Grooving for Heaven instructional DVDs)

Intro to Solo Bass Arranging Verse Section "Angels We Have Heard on High" (Trad. Christmas Carol)

Norm StocktonB Mixolydian "Root, b7" E Ionian (Major Scale) "3"

E 13 14 14

E Ionian (Major Scale) "3, 3, 3, 5"

13 14 14

13 14 14

13 14 14

13 14 14

16 14 14

B 16 16 14

16 16 14

16 16 14

14 16 14

13

E

13 14

13 14 14

13 14 14

E 3

E Ionian (Major Scale) "3, 2, 3, 5"

B Mixolydian "6, 5"

E Ionian "Root"

13 14 14 13 16 14

13 14 14

13 14 14

16 14 14

B6

13 13 14

13 13 14 13 16

14

E

14 14

14 14

13 14 14

8

13 14 14

13 13 14

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 receiving widespread acclaim from media around the world. Visit Norm at www.normstockton.com and on Facebook & Twitter for much bassrelated 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, interviews, clinic invites, exclusive discount prices, and more.

2011 Stocktones Music

SEPT/OCT 2011

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Rescue the Perishing

In the mid-90s, when I first started writing for CM, my focus was totally on traveling all over the country teaching my weekend Praise Guitar Workshops. I was also just starting to work on guitar arrangements and record album projects again after an 18-year hiatus

in my music career. Since then Ive produced 10 CDs, several books, a pile of DVDs, and have won national and international acclaim as a solo guitarist, which has sent me all over the world as not only a teacher, but also as a concert artist.

Rescue The PerishingW.H. Doane / F. Crosby

0 2 1 0

2 1 2 3 4 4

5 6 6 5

5 7 6 0

G74 4 5 4 7

C77 4 6 4

Verse

A7

B/A A75 6 6

A&7

D7

0

5 B11

E9

2 3 1 4

F75

2 2 2

B77

5

0 3 2 0

E71

E7(4)

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8 7 7

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G74 4 5 4 7

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These days, however, the economy has nearly closed the doors on most of my travels and Ive had to re-invent myself yet again. Part of the re-invention process has led me to teach long-distance guitar lessons via Skype on the internet. This is turning out to be a really cool chapter in my life and, I think, the lives of guitar players all over the country too. These students certainly keep life interesting for me by asking for arrangements of songs that theyd like to learn. Recently, a student from Texas wanted to learn Rescue the Perishing, a southern gospel standard. I started off with a sort of rubato, pretty ballad version and then went into a full-on Chet Atkins style rendition. The overall TAB chart ended up being 4 pages long and I have recently added it as a TAB download at my website, along with the performance notes and an audio clip of me playing the arrangement. What you see here is page 1 ( just the first verse). If youd like to have the whole arrangement with performance notes and the audio file, just check out TABs on the store page at www. johnstandefer.com. This download is $5.95. Also, maybe youd be interested in some Skype lessons yourself. If so, just drop me an email anytime and we can talk it over. Thanks for reading my CM guitar columns and for the support over the years. Blessings to you... John

A7

A&7

B/A A75 6 6

D7

C75

13

0

B11

E9

2 3 1 4

F75

2 2 2

B77 7 8 7 10 7 9 0

A(2)5 0

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0 3 2 2 0

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Arrangement Copyright 2011 by John Standefer Music

Have you seen Johns free Praise Guitar Lessons online yet? Go to CCLI TV and start the weekly lessons today. And make sure to look over Johns calendar at www. praiseguitar.com to find an event near you where you can hear him live.

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Rhythms Of GraceIm sure many of you have run across Hillsong tunes with your worship teams over the last few years. In fact, I think it would be safe to say they have made a major impact on contemporary worship. Rhythms Of Grace is a wonderful Hillsong tune that Simon Kobler played the drum tracks on. I love his ability to come up with creative grooves and developing those ideas through out a song. You can check out Rhythms Of Grace on YouTube. In the first groove Ive written out, Simon might be using his left hand for a high hat opening but Ill let you decide that. As the section progresses he gets a bit more aggressive with the part and adds a few more 32nd notes on the snare. I found this a very fun patterns that are unconventional but have a signature sound just like Simon did with and sort of funky groove to play. Rhythms Of Grace. In the instrumental section he creates a Blessings, David pattern using the rim of the snare drum, high hat and floor toms. Notice the sticking and the David currently tours with way Simon moves his hands from the rim to Fernando Ortega and has worked the high hat to develop the groove. And once with Sara Groves, Bebo Norman, again the further he gets into the tune the Crystal Lewis, Cheri Keaggy, harder he hits and the more washy the high Tommy Walker, Paul Baloche hat gets. At the very end he goes to a groove among others. He has played for that seems to tie everything up rather nicely. I hope you found these drum parts as interesting to play as I have. They seemed awkward at first but once you get them under your hands they work very well. I hope this inspires you all to come up with your ownBilly and Franklin Graham Crusades, Harvest Crusades, Maranatha Worship Leader Workshops and for over 2 years he was the house drummer for the Los Angeles production of The Lion King. His home church is Plymouth Church in Whittier, California. www. DaveOwensDrums.com

Verse and Chorus groove

Snare Rim

Snare Rim

Snare Rim

Instrumental and end section grooves

R R L L R R L L R R R L R L etc....

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Uncover the Wow FactorI once had a student that was really hesitant about purchasing her own microphone. She was out singing in churches, booking several dates a month. I kept telling her that she needed to purchase her own microphone; if not for better sound, then for personal hygiene reasons. She kept putting this off and kept telling me she would just use the microphones the churches had available. Well one Sunday evening while performing in a church in Alabama, the churchs microphone fell apart during one of her songs. The beautiful round, silver, ball-shaped, mesh grille fell off the top of the microphone and hit the floor. The element that holds the sound diaphragm just hung loosely and aimed itself toward the floor. This singer spent the rest of her concert holding the barrel of the microphone to the side of her face, near her cheekbone with the element hanging and aimed downward toward her mouth. Needless to say, this was very awkward, uncomfortable and embarrassing. She purchased a microphone before her next lesson and we had a great time laughing at her misfortune. I tell you this story because it leads to a microphone purchase, and thats where it gets interesting. She went to the great big music store with her husband who was a highly educated electrical engineer with a degree from Georgia Tech. The salesman who greeted them at the great big music store door was in trouble from the get go. The husband had other thoughts in mind than helping the salesman get his spiff. For those that are unfamiliar with this term, let me define it for you. When a company wants a salesman to push their product they will pay a certain amount of money for him to do that. For instance brand Y microphone might be the one that creates a wow factor for your voice but the salesman keeps telling you that microphone X is what everybody uses, is the industry standard, and you can use it till you die because it can handle any and all abuse. You are then convinced that product X is the way to go and you purchase it. Company X then sends a check to that salesman for 14 SEPT/OCT 2011 maybe five to ten dollars for selling you that microphone. Company Y did not have a spiff program and did not sell you their microphone, which may have been the one that was right for you. Back to the story. . . This ladies husband wasnt interested in this salesmans approach; he was interested in things like on-axis, off-axis, coloration, proximity effect, polar patterns, and frequency response. Her husband actually looked in the box and read the included paperwork. When her husband started to discuss acoustic phase cancellation the salesman suddenly had to go on his break. Stay with me here, I am not making this story up. Her husband then had her try a number of microphones in the middle of the store. He plugged these microphones in and had her sing right there in the store, in front of everybody. She, in a very long-suffering wifely manner, agreed - and they went to work. They found many that were not right for her voice and her type of concert ministry. Some they tried made her voice sound thin, and some others made her voice sound thick. They even found one that the closer her mouth and voice got to the microphone, the bassier and heavier she sounded. That was the proximity effect her husband was talking about earlier. He was really on a roll! They auditioned several microphones and did not choose the one everybody uses, but chose the one that created a wow effect. Some of the other customers had stopped to watch the goings on and they even noticed which microphone sounded better. The husband and wife team decided on a microphone that sounded good on both high and low notes and sounded nice when she was not singing directly in front of the microphone. This was what her husband was talking about when he mentioned off-axis (off to the side of the microphone). The next week she brought the microphone to her lesson. I had to agree it really sounded great and she finally had her own microphone. If you would like to find the right microphone for your concerts, you will need to set up at least two microphones for an a/b comparison. Remember that your hearing memory lasts for a few quick seconds. So switch back and forth quickly. Sing with both on and off-axis. Once again, that is straight in front of the microphone, or slightly to the side of the microphone. The best way to test a microphone would be with a PA system. Test each microphone to see which microphone creates feedback first. Now, check the off-axis response and see if you like that sound. Next try the old and famous key ring check. This will let you know how the microphone responds to sound. Clanging keys have a very complex harmonic structure that is hard to reproduce. A poorly performing microphone will produce a sound that has no jingle or shimmer. You will recognize it when you hear it. Spend some time comparing and examining multiple microphones. Fight the urge to buy what everybody else does, beware of the spiffy salesman, and finally, get your keys out. You may then discover the microphone that really creates the wow factor. Now go sing well!Roger Beale is one of the nations foremost vocal coaches. He presently works with professional singers in all areas of musical performance. His teaching and coaching facility, The Voice House, is involved in the management and care of the professional voice. Many of his students have won prestigious vocal competitions and scholarships. In addition, he has worked with Grammy and Dove award winners and nominees. He also offers vocal clinics and seminars, as well as assistance in recording sessions. Roger is 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: The Voice House, PO Box 87136, College Park, GA 30337, (404) 822-5097 e-mail: voicehouse@mindspring.com, web site: www.thevoicehouse.com.

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PRODUCT REVIEW

BOSS RE-20 Space Echoby Michael HodgeShe says Wow youre bringing your pedals the left as well as a tap/ Twist pedal selector switch on the to bed? Wow Im actually writing this review lying right. on the bed. Theres a pedal between my beautiful wife Carrie and I. We both start laughing! Were staying at a close friends ranch, and its great fun! Besides being the best singer Ive ever worked with, she loves music just as much as I do. Im totally blessed! I guess Im like most guitar players. We get excited about special guitar pedals. We love to research them. We want to know which ones we should save up for and which ones look cool. We want to know whos using them and even what settings they use. Every guitar player I know is totally into Delay pedals these days. Enter the BOSS RE-20 Twin Pedal. Let me start by saying I love this pedal! The RE-20 pedal is digitally modeled via COSM technology after the Roland RE-201 Space Echo. I have seen, heard, and always wanted an original Roland RE-201 Space Echo as a kid. It was a little out of my price range. The unit was the size of a big toaster oven, and more professional looking than its rival, the Maestro Echo Plex. It also boasted a tape cartridge with a record head and 3 playback heads, as well as an onboard spring reverb with bass & treble controls. I thought it was genius that BOSS released the RE-20 Twin pedal version, and was excited to hear it. I read on the Internet that maybe the Edge and Radio Head had used one, and Pink Floyd had used one of the original RE-201s back in the day. This could be cyber gossip, so who knows? OUT OF THE BOX The RE-20 comes with 4 AA batteries, which supposedly will last for about 30 hours, and a BOSS pedal guide. There is a quick reference guide sticker on the bottom with functions and settings (nice touch) along with a battery compartment. It weighs about as much as a Wah. The RE-20 Twin pedal takes the space of two normal pedals with a cable in between. This allows for a separate On/Off pedal switch on 16 SEPT/OCT 2011 BACK SIDE On the back of the pedal there are stereo and mono ins and outs. I dont think the pedal is true stereo like the DD-20, but actually mono like the original. There is a jack for an expression pedal that controls Repeat Rate, Intensity, Echo Level and Twist. Theres a typical BOSS 9V power supply jack in the back for real world use. Lastly is a small Direct signal switch that lets you choose to use the pedal as an FX insert with only the effected sound coming through the outputs.

in an analog way. I noticed that when I pushed it to the max, the result was washy, yet still realistic. Having control of the bass, and treble makes for some great flexibility as well. The Reverb decay time doesnt seem to change much, but you can really go crazy with the amount of verb mixed in.

The original RE-201 had three playback tape heads. This multi-tap feature, along with VIEW FROM ABOVE the added reverb, really set it apart from all I can tell that there was a lot of thought put the other units back then. For the first time, into the layout of this pedal. The green, black, you could have multiple rhythmic delays in a and silver background is the same as the single box original unit. There are three Reverb section knobs on the top left: Bass, Treble, and The Mode Selector knob seems a little Reverb Volume. Directly below are the Delay confusing at first. Taking a closer look, its parameters: Repeat Rate, Intensity, and Echo actually pretty straightforward and makes Volume. To the right of these is the Mode perfect sense. Positions 1-3 are the 3 Selector. This knob faithfully recreates the individual heads: each one a slightly longer selector on the original RE-201. There are 12 delay time. Position 4 on the Mode Selector indent positions: 4 are Delay only presets, has all 3 Tape heads playing at once and 7 are Echo plus Reverb presets and a single is very cool! This could save a spot on your Reverb only preset. On the far right is the pedal board, since most guys I know use 2 Red Peak level LED, and an Input Volume delay pedals to get this effect. Positions 5 through 7 are the same as 1-3 except with knob. Verb added. Positions 8 through 11 are the As mentioned above, the left footswitch is other possible combinations using 2 of the the On or Bypass switch, and the right is a heads with Verb. Of course, Number 11 has Delay Tap that alternately functions to engage all three heads . . .and reverb too! How Spinal the Twist effect. Between the two footswitches Tap is that?! Position 12 is reverb only. is a green power LED, an EFX on and off LED, and a flashing LED tempo indicator. Lastly is The delays sound different, in that as they the smile shaped virtual tape speed indicator decay, they dont just decrease in volume like that gives a sense of how fast the virtual tape a normal DDL. They fade out in a very nice way. True to the original tape unit, theres a is (or would be) running. natural roll off at the top end that is very PLUGGED IN musical to me. It stays out of the way of your I first plugged my Gretsch Firebird straight original tone. The RE-20 also has a max delay in, and then out to a vintage 62 Deluxe. This of up to 6 seconds in Long mode. thing sounds Killer! The reverb is reminiscent By itself, the pedal has a lot of possibilities, of a typical 3-spring unit. Its got the boing though only one at a time. Setting #11 was my factor, along with the ability to overload, but Continued on page 42.

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The Secret Songwriting Grooveby Morgan Cryarwith intro by Rick CuaShortly after Diana and I first moved to Nashville with our girls, some 27 years ago, in moved new neighbors with Louisiana roots. They were very Cajun, and very wonderful. Morgan and Melanie Cryar and their kids were soon to become some of our dearest friends. We lived in an apartment and they moved in across the hall. We made them pasta and meatballs and they cooked us jambalaya and gumbo. We left our doors open much of the time and the kids just ran back and forth for most of the day. Morgan and I went on to tour together and share our love for music, ministry, family and songwriting. When I asked Morgan to write something for us I knew it would be spicy and gooddig it!that gets used before you ever start writing stop to look for something that everyone the song. else missed when they were writing their Imagine one of those New York City street songs on this subject. Youre looking for A scenes in a movie where a sea of black NEW CAMERA ANGLE.

business suits is walking toward the camera down a crowded rush hour sidewalk. When you watch this scene, what do you instantly do? You begin to search this sea. You just know its going to happen, so you watch for it, searching that crowd. Your movie-going experience tells you that someone is about to appear in that sea of people (otherwise, theres no story).

If youve ever written a song, you probably have experienced something that is common among songwriters the desire to do it better and better next time. From the moment I began, I was always striving, reading, and studying to improve my songwriting. It was kind of an obsession really. I find it fascinating to think that you can change one word, and a line of a song can take a completely new turn. about the same subjects, they tend to sound She sat there talking for hours and hours the same even if they are in different keys, at can become She sat there gushing for hours different tempos, and get sung by different and hours. Just one word changed and singers. Now imagine were just talking about suddenly, you want to know what she was the last 100 new worship songs your worship gushing about. You probably wouldnt have leader has had to sift through. Chances are, cared that much to know what she was talking hes got the same problem. about. So whats this big secret I so boldly So I teach songwriters. Those special people who cant stop mulling words, chewing phrases, and polishing lines. The ones who often have that strange faraway look in their eyes. If you are one, my heart goes out to you. In fact, I want to share something in this little article that could change your songwriting efforts forever. What I have to share is very simple, but dont let its simplicity fool you. It is overlooked by most songwriters. My Bestest Songwriting Secret If I could call something a real secret weapon in songwriting, this would be it. Im referring to a single element that can make a song jump out of a crowd of songs and stand apart. I stumbled upon this early in my songwriting career and it has made all the difference to me. This secret weapon is one 18 SEPT/OCT 2011

This is one of those deceptively easysounding techniques that isnt a songwriting technique at all. Its easy to overlook the power of this little step, but dont you overlook it. Let me explain what I mean by camera angle. First, youll never find a new subject that hasnt been written about. There is nothing new under the sun. However, if you stop and meditate long enough, you may find Now imagine a different sea. This time, its a different perspective or angle on a subject. a sea of songs (picture a huge box of demos This is what I call the oh-I-never-thoughtin some publishers office if you must). The about-it-like-that idea. Sometimes, of sea of songs and the sea of black suits have course, God drops one of these on your head something in common. The song demos while you arent even paying attention. But nearly all sound the same. In fact, most sometimes, you only get a simple subject. companies have stopped even accepting Then you must do some thinking work, demos because their expectations are so low. some praying, and some meditating to see If 950 out of 1000 New York businessmen what others have missed a perspective. It wear black suits, another black suit tends to doesnt even need to be super-profound. It blend into the crowd. If 995 out of 1000 song just has to be a unique way of looking at the demos have songs that say the same things subject. Ill never forget when I was in college and there were two songs that caught the imagination of everyone I knew. They were both about the same subject: the resurrection. But they both had very unique angles on the resurrection. Incidentally, they were both huge songs that made a huge impact. One was Hes Alive by Don Francisco and the other was Rise Again by Dallas Holm. Look them up if youre not familiar with them and youll see how they both approached one subject but very uniquely.

cover this in more depth in my course book, Strong Songwriting, but heres what Im suggesting you do with your next song:

promised? The secret is to wear a different suit. Instead of your songs blending in, they need to stick out like a green ballerina suit. What is she doing, walking on the street in that suit? But were talking about songs, not So my advice? Stop and think until you see suits. it that way of looking at something that Now, dont get me wrong. Im not talking others missed. Its not a super-hard exercise. about polishing up a song with more It just takes a little patience. This one little production or more guitars or more anything secret has the potential to make your songs else. Im talking about making the song more memorable and create a greater impact. different by how you write it to begin with! I So sharpen your pencil and start thinking.

BEFORE you write the song, stop and take some time to think your way around your chosen subject a little. Youre going to look for something that most songwriters dont

Morgan Cryar is a singer, songwriter, and producer from Nashville, TN and the author of the course, Strong Songwriting. (www.strongsongwriting.com)

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Burlap to Cashmeres Long Awaited ReturnBy Aimee HerdHaving been a huge fan of Burlap to Cashmere when they first broke onto the scene back in 1998, I was extremely excited to hear there was a new project after all these years! As I listened to the new album, I was so glad to hear the same signature Mediterranean rhythms and feel that first endeared me, and so many others, to the music of B2C; and yet it seems like theyve taken it to the next level. Though they were only a band of three in the studio (Steven Delopoulos, Theodore Pagano, Johnny Philippidiswith help from producer Mitchell Froom), their new offering is full, yet still organic and woven throughout with such tasty acoustic flavors from Greece that moving to the rhythms is just a natural response (not to mention Im suddenly hungry for some Baklava). Read on to see why it took so long for another recording and how this one came together.about it, because it wasnt about music or businessit was just about hangin out with my cousin. In the past, things had gotten... too structured with too much agenda. When music turns into business it kind of ruins the music! So, we werent making any business plans or anything, it was just hanging out with my cousin. I had written a song called, Orchestrated Love Song, and I played it for Johnny and we just jammed on it. It was fun. Thats why that song came out like thatit was really the first song we did together after his accident. AH: Were you writing the songs that landed on this new project during that time before

Aimee Herd: Burlap to Cashmeres long that recovery take? hiatus was intended at first when the band SD: Oh, Id say a year for full recovery. split up for a time around 2001, but then it was unintended when, later, your cousin AH: I hear that retraining his coordination and guitarist for the band, John Philippidis by playing Halo on X-box helped a great was beaten by three people in a road rage deal... incident. That must have been very scary for SD: Yes, exactly. you and your family. AH: I know when Johnny first picked up a Steven Delopoulos: It was rough; I guitar again after recovering enough from remember getting the call and the cops the beating, he felt like he wasnt ready. But thought he was D.O.A. (dead on arrival), they through your patience and encouragement, didnt think he would live. There were a lot he did start playing again. What was that like of prayers and a lot of wondering if he would when you two first played together again make it or not. just by yourselvesafter what happened? AH: But he did make it backhow long did SD: There was definitely something fresh 20 SEPT/OCT 2011 CHRISTIANMUSICIAN.COM

pocket; some that I had to finish... I wrote AH: Thats cool, and I like both of them. So, Santorini about five or six months before is Tonight at least somewhat close to how it recording. I wrote Build the Wall actually in was originally? the studio. SD: Its completely how it was originally! AH: In the studio?! And, Orchestrated Love Song is an example SD: Yeah, I played a little bit for the producer of how that song could evolve. The melodies (Mitchell Froom) and he really liked it, so he are different, but I basically built it off of the said, Finish the song. So I took out a pen and skeleton of Tonight. pad, locked myself in my room, and focused AH: That is just so interesting. While were on finishing the song. on the subject, when you write songs, do you Some of the songs were hybrids of others, typically write both lyrics and music together, such as Tonight. I wrote that over 12 years or does one come before the other? ago. A lot of my friends didnt like Tonight, so I scratched the song from my list of tunes, and then I rewrote it as Orchestrated Love Song. So, Tonight was actually a scratched song that was revamped as Orchestrated Love Song because the rhythms are the same, and the chords are basically the same.

B2C reformed, or were they written recently song that we need to have on the record. So there was kind of a hybrid thing happening for this album? SD: Id written them on and off throughout between Tonight and Orchestrated Love the last ten years. I had some songs in my Song.

it would work for a song. Sometimes I would already have a song that was written in a pop format, and I would use that [lyrical] rhythm and write my own words for it. So, sometimes Ill write words first then music, other times itll just be music with a melody that will feel goodand thats when my lyrics are way more simple, and probably more tangible. A song like Dont Forget to WriteI had that melody in my head (sings the melody) and then I just put words to it. AH: There are three songs in particular off the new release that I would love to have you decipher a little in terms of lyrical intent, and what youre conveying in the song. The first is Tonight and its interesting in light of what youve already mentioned about its origin. The other two are Love Reclaims the Atmosphere and Build a Wall. SD: I wrote Tonight so long ago, and I wrote it because of touring. We were out on the road and we needed some strong material for the bandI knew we needed to sort of rock it out a little bit more, so I really wrote it for the band. The lyrics, to me, are basically about the egothe story of a man

SD: As far as the mechanics of songwriting, it depends on the song. With Love Reclaims the Atmosphere, I wrote the chords first, you know(sings it) da-da-da-dah, da-dada-dahon the G. Then the words came because I got the feeling of where the melody was going, so the words sort of fit the melody. I told this to Mitchell and played him Then, I wrote a song a couple days ago, and it Tonight and he said, Oh, this is another was just a poem. So I wrote a poem as though

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T.S. Elliot; he gives you something, takes it awaygives you something, takes it away. In turn, you really understand what hes saying, not by his words but by his patterns and rhythms. AH: And what about the lyrics in Build a Wall? SD: That was a tough one for me because I had to actually fill in the blanks from the melody. I wrote the melody (sings it) dada-dah, da-da-dah... There was a real tight pocket for those syllables, and I had to match the words with the syllables. AH: You basically had the verses but not the chorus yet? SD: I had nothing! I just had the melody, so it was fitting the words to the melody and it was a tight squeeze. It was more about the syllables fitting the melody than it was about the content of what I was saying. (Laughs) I was just trying to make the song sort of rely on yourselfso theres that dual work. experience. AH: I like what you said about poetry and AH: I love the Greek influences woven the carpet being pulled out from under your throughout your music, which obviously feet, because youre rightwhen it is too comes from your heritage. You live in New Jersey, but were you born in Greece? familiar, you dont really think about it.

who is trying to find himself through trial and error, but who always believes in a pure, loving God. It seems like hes always trying to leave his desires and the flesh to find peace, but winds up getting into trouble.

Love Reclaims the Atmosphere Im real proud of. I wrote that this year. The words SD: To me, thats what poetry is, its not SD: My dads from Greece, my mothers deal with a lot of duality. It opens up: Im being able to grasp, yet having a deep second generation, and I was born in New staring at the mirror as the shadows plague understanding of what its saying. I think Jersey. my room, in every risen hero theres a choir when I read poetry, thats what I like about AH: I dont pretend to know a lot that resumes... I like in poetry when about music theory ( just enough to be the carpet gets pulled from under dangerous), but it sounds to me that my feet when Im reading something some of the timing and rhythm changes because it creates an experience for intrinsic to your music would be pretty mewhenever something gets thrown difficult. off, then I can have an experience. But SD: Im conscious of that when I write, when Im so familiar with it, and its so but I grew up listening to Greek rhythms tangible I can touch it and know what it and theyre different... Also, I listened is, well then Im on top of that concept. to a lot of Paul Simon and Cat Stevens, But, when something is coming from who used different rhythms as well. Cat left field and it throws me off, then Stevens is Greek and grew up listening to it puts my mind in a swirl, and I get to Greek folk music. Theres a song he wrote really have an experience and a search called Ruby My Love back in the 70s... for my Creator and myself. So, I like how this song works, in that it deals with the AH: ...from Teaser and the Fire Cat. paradox and deals with duality, but at SD: Yeahgreat, great tune! (Launches the end of the day its about a woman into it singing) [The different rhythms] trying to find her peace. She opens up are because he grew up listening to her violin so the darkness can forgive Greek folk music, and so did I. So, Im her. And today well crucify the fear used to hearing those rhythms and thats as love reclaims the atmosphere. In normal to mefor me its standard. For the second verse,I used to be a soldier meand Ill even say this for my cousin but a painter I became, I used to walk Johnnyfor us, the complex music to on water but now I fan the flame... perform and write is the rock and roll: As Christians, were taught to deny 1,2,3,4. Were awful at it! ourselves, pick up our cross and follow Christ. But, sometimes in creating, when AH: I like the fact that, in the studio, you create and when you paint, you youre keeping that purity and organic kind of sound too. 22 SEPT/OCT 2011 CHRISTIANMUSICIAN.COM

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SD: Well, we havent really been a band. We just went into the studio to become a band again. Mitchell Froom (Elvis Costello, Paul McCartney, Sheryl Crow, Tom Waits) had a big hand in us becoming a band. He really shaped and molded us. We didnt know what we could be; all we knew was what we could do. He used what we can do for us to become who we are. Thats something hes good at. We used to be a seven piece, now were three guys in a studio... Johnny had a big weight on his shoulders; he played bass, guitar, sang harmonies, and he did some percussion stuff. Mitchell Froom played keyboards and piano, Ted did drums and I did vocals and guitar and some banjo. The point is, we were three guys trying to make the sound of a band. Mitchell essentially became a band member and really helped us to accomplish that.

one else has come close. AH: How did you end up working with Mitchell? Did he get in touch with you, or did SD: Nope, and no one did what he did even before his time[his music] was like watching you contact him? a movie, full of details. SD: We contacted him . . .he liked the music . . .we had a meeting with him and we started AH: But, he had another passion beyond music and Burlap to Cashmere has kind working together. of picked up that mantle, and thats Why AH: I hear youre a Harry Chapin fan. I loved Hunger. Can you talk about that a bit? Harry... SD: Id love to, their website is WhyHunger. SD: Isnt he great?! org and Harry Chapin started it; its basically AH: What a master storyteller he was, no an organization to fight hunger, with many

layers of how they do that. We started working with them recently. Theyre really good people there and were glad to help out in anyway we can. AH: Steven, do you have future plans now that Burlap to Cashmere is back together? SD: Just being on the road a lot. Were really excited! AH: I know this project was just released, but do you feel like you have a lot of material as youre continuing to write? Will there be another album somewhere in the near future? SD: Well, I have lots of songsdefinitely. Im always working on material.

During the recording of the new self-titled record, Steven used older Gibson guitars, a Martin and a Santa Cruz. Both Steven and Johnny also used a borrowed hand-made Flamenco nylon string. John used a Martin 12-string, a Martin acoustic, and most of the electric guitar was done on a 1967 Gretsch Monkees edition guitar lent to them from the Guitar Center Vintage Room. Log onto: BurlaptoCashmere.com for some great videos and more info.24 SEPT/OCT 2011 CHRISTIANMUSICIAN.COM

Thoughts on Arrangements from ProducedByMattKees.comAfter a well written song, lyrically and melodically, the next most crucial aspect of a great song is how well it is arranged. An arrangement is how the song is formed... how its structured. In form, an arrangement is the flow of the intro, verses, choruses, bridge and such. The structure of an arrangement determines which instruments & voices are included in the song, what notes or chords each instrument plays, when it plays, and the dynamics & intensity of each part of the ensemble. In both live and recorded music, the trap that many musicians will fall into is the wall-ofsound syndrome. Without an arrangement, everyone feels obligated to perform throughout the entire song, because they havent been instructed by a producer or music director what they ought to perform. A song is better served with a thoughtful arrangement, thus giving life to the song. A good arrangement helps a song breathe, and makes it a better experience for the band and their audience of listeners. Here is a list of a few simple things that will help improve an arrangement: Have instruments like guitars and keyboards play in different frequency ranges (e.g. lower notes, higher notes)... these instruments tend to live in that middle range. If too many instruments are playing mid range notes, theyll start to mask and cover one another, making the arrangement muddy. Have instruments like guitars and keyboards play different parts (e.g. perhaps the keys will play a rhythmic

part while the guitar plays a melodic part, or vice versa). If both instruments play chords rhythmically, it could be a little redundant.

Consider having various instruments NOT play during certain parts of a song. For example, maybe the whole band plays the intro... then verse one has only the acoustic guitar and a hi-hat... then the first time through the chorus, everyone except the acoustic guitar... there are so many options here. The challenge is to make the arrangement serve the song. Remember these two things: 1) silence is good. 2) keep it simple.

Matt Kees is a producer/songwriter & the Director of the Christian Musician Summit conferences. For more information, visit www.producedbymattkees.com

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selective hearingby Shawn McLaughlinBurlap to Cashmere Burlap to Cashmere Jive/Essential A lot of water has passed under the bridge since last we heard Burlap to Cashmere together. Time has mellowed the vocals a little bit, and there is more emphasis on haunting harmony and tunefulness, and a little less of the insane flamenco-like guitar flourishes (dont worry, they arent gone, just different). Still, the core that made this band so exciting has remained, and it was worth the wait. Definitely the bones of the first album are still there there are still influences of the Greek-ethnic musical beds that underpin so much of the previous album. The rhythms are simpler, less driving, and certainly the music is slower and more melodic. Guitars dominate the melody and the bouzouki is hidden in the background on a couple songs. These tunes are joyous, but tinged with weariness and the knowledge that experience brings. The name says it all - Burlap to Cashmere, emptiness to fulness, darkness to light these songs are stories that explore the instances where Gods light shines even in the midst of humanitys deepest sorrow, though the lyrics are thoughtful, sometimes cryptic to the point where youd want a libretto for explanation. Perhaps this is deliberate a lyrical Rorschach test but Steven Delopoulos prose still affects the spirit deeply. After all the tragedy that the band endured (guitarist Johnny Phillipiddis was seriously injured and left in a coma for quite a long time due to a road rage incident), this album is a homecoming, a celebration of great songwriting, solid playing, soulful singing, deep and beautiful lyrics. Influences from classic American rock to the inimitable Van Morrison are more easily seen here, and that is for the goodthere are sure homages to classic singer/songwriters like Paul Simon and Cat Stevens as well, but 26 SEPT/OCT 2011 all of this is not to say that they sound like anyone but themselves. In fact, Simons recent release was declared a triumph by most critics but doesnt hold a candle melodically to most of the tunes on Burlap to Cashmere. There is seriously not a dud song in the batch here, but my personal favorite might be the simplest: the discs final cut, The Other Country, seems to adapt Tolkeins assertion that we are travelers while here on earth and that Heaven is our true home, and it bears a strong, soulful resemblance to Morrisons Crazy Love, Bruce Springsteens My City In Ruins and most notably, Curtis Mayfields People Get Ready. Yet the song never resorts to direct theft, ala John Mayer in Waiting for the World to Turn. In a year with several strong releases already (and several this cycle), Burlap to Cashmere is right up there at the top and represents a welcome return from one of the industrys most valued artistic entities. American Dream Dominic Balli Redsong Music www.dominicballi.com Ballis second release after Public 2008s Announcment, American Dream is full of what Balli, who is a native Californian of Greek and Italian descent, calls CaliRockReggae music that is, a melange of accessible pop tunes dressed in dreadlocks and multi-colored hats, and driven by Ballis precisely articulated vocal mannerisms. What could come off as a second rate copy is actually quite a pleasant experience, as Balli knows how to meld disparate influences to his highly addicting tunes. With a focus on directing todays generation toward things of value, the project could be called be careful what you ask for, because you just might get it. A guest rap by P.O.D.s Sonny Sandoval is an added bonus to a disc that should garner many fans of sunny pop music. With Shivering Hearts We Wait Blindside INO records After the sudden stylistic and thematic departure of 2005s The Great Depression, Swedish hardcore band Blindside took a long, much welcomed sabbatical from recording and touring (there was an EP in 2007) to regroup and refocus their mission as a band. With Shivering Hearts We Wait is a much more optimistic release than the previous album and finds the band adopting a slightly more accessible sound while not losing the edge that the kids love. The process of writing songs on acoustic guitar has helped with creating choruses that are much more melodic and memorable, with the guitar crunch and electronic elements added on top of the mix. Vocalist Christian Lindskog still screams with unbridled passion and the guitars are razor sharp, so old fans wont be too disappointed. There Must Be Something In the Wind closes the album describing the freedom found in Christ and is an apt metaphor for the bands own decision to change up their musical direction a bit. Black & White Royal Tailor Essential Pop, rock, funk, and hip hop all combine to comprise the sound of debut act Royal Tailor, a band that both benefits and suffers from their sometimes wild

CHRISTIANMUSICIAN.COM

diversity. With a lack of bands that appeal to fans of Maroon 5 and Bruno Mars, whom the band most resembles, the sound is a needed one in the industry, and there are worse songs in the world than Wannabe which uses rather broad generalizations to convey the traps of living by the worlds standard or any of the other radio-ready pop songs offered up here. The gentle acoustic pop of Hold Me Together is the album highlight (largely due to vocalist Tauren Wells credible Michael Jackson-like vocal), however, and represents a stylistic trend the band may want to follow. Control Abandon EMI Christian Abandon tightens up their commercial take on alternative dance rock considerably on Control, giving nods to The Killers, Arctic

Monkeys and Franz Ferdinand, while retaining hints of the modified Coldplay sound that major Christian label bands are seemingly required to have. This makes for some truly arresting music like I Feel It In Your Heart, Help, SOS and Push It Away. However, the excessive use of cheerleader rock choruses i.e., the repetitive use of the words woah or oh or just vowels in general (o e o) seem consistent with the bands sometimes sophomoric lyrical content . Yet, when hearing stunning songs like the soaring hit Known or the beautifully atmospheric Hero, one is easily led to forgive the occasional misstep. Love & War & the Sea In Between Josh Garrels independent www.joshgarrels.com Garrels has been making gourmet music for a few years now, with little or no recognition from the mainstream

Christian body, despite the fact that his music is absolutely full of biblical truth, both specific and implied. Garrels also prefers quiet intimacy to bombast and that doesnt always play well in our market. So, this startling music, with nods to pop, country, folk, hip-hop and R & B is left to the few that seek out sites like Bandcamp or noisetrade to fill their need for artistically compelling music. Love & War & the Sea In Between speaks of the eternal tension between the sacred and the profane and is the best distillation yet of Garrels many influences, which include Digable Planets, Amos Lee, Damien Rice, Sean McDonald, Sufjan Stevens, Tom Waits and even a little Van Morrison in the vocals. The most interesting development is the increased use of orchestration, which gives the album a grander feel than Over Oceans or Jacaranda, his two previous albums. The production (by Garrels and wife Michelle) is much fuller,

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perhaps a little less indie sounding, but it certainly serves the expansiveness of the arrangements. Please seek this out. If you want to expand your musical boundaries, any album by Josh Garrels is a good place to start, but Love & War & the Sea In Between is his most compelling work yet. Get In Im Driving Ginny Owens Soulstride Records Ginny Owens celebrates the freedom of autonomy (her new album is selfproduced with help, and released on her own label) by proffering her brightest and most pop-conscious album yet. Utilizing the production help of longtime collaborator Monroe Jones and LA hotshot producer, David Das, Owens finds her inner soul sister

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with songs that are imbued with R&B touches and benefit from a particularly self-contained, utterly soulful vocal performance. Songs like Lay It Down, Mystery of Grace, Daughter of Destiny, and the title track Get In, Im Driving are laced with touches of neo-soul ala Bill Withers, India Arie, and Raphael Saadiq; while pop winners such as Better Off and Before You Fly add in touches of well-crafted Anglo pop ala the Fab Four. In fact, the latter tune references the chorus of You Wont See Me, Paul McCartneys own first attempt to fuse Mersey-beat with Motown. Joined at the Heart avoids over-sentimentality while still using affecting poetry suggesting the mysterious bond that God assigns adoptive parents and their children, while The Song neatly wraps up the album by tying in the artists tendency to follow the muse with a life that follows the will of God. Rain is a brooding, evocatively arranged lament of lost love, taking a cue from Owens own life that offers hope in the realization that it is often best to find the lesson in lifes trials until The sun shines again.

Finally, Owens tries her hand at one of pop-souls most endearing (and most covered by Christian artists) tunes, with a drastic re-imagining that couples her own considerable skills on piano, with a brilliant string arrangement that borrows liberally from Eleanor Rigby, transforming the formerly funk heavy number into a moody, atmospheric tone poem. Simply stunning, the song illustrates Owens growth as an arranger and musical force, joining with the enticing pop/r&b tapestry that makes up the rest of Get In, Im Driving in firming up her reputation as a singer/songwriter of the highest order.

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

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EVENTS for CREATIVE TYPES to IMPROVE SKILL & INSPIRE TALENT for GODS GLORY

September 16 & 17, 2011 Cornerstone Fellowship, Livermore, CA featuring Peter Furler, Lincoln Brewster, Brenton Brown & others...

October 14 & 15, 2011 Scottsdale Bible Church Scottsdale, AZ, featuring Peter Furler & others

October 8, 2011 Calvary Community Church Westlake Village, CA featuring Brenton Brown & band, Dwayne Larring, Tom Brooks & more

November 11 & 12, 2011 Overlake Christian Church, Redmond, WA featuring Peter Furler, Phil Wickham, Lincoln Brewster, Paul Baloche, Christy & Nathan Nockels, Doyle Dykes, Zoro & others

info@ChristianMusicianSummit.com

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PRODUCT REVIEW

Spectrasonics Omnisphere 1.5 Virtual Synthby Michael HodgeFrom the makers of the acclaimed virtual synths Trilian, and Stylus RMX, now comes the latest update to Omnisphere, Spectrasonics Flagship Virtual Instrument Synthesizer. HISTORY: Eric Persing founded Spectrasonics in 1994. He was previously the chief sound designer at Roland corp. Omnisphere was their first Synth to incorporate STEAM engine technology in 2008. It replaced its predecessor, Atmosphere, which was highly regarded for its pads and textures. Omnisphere is a one-of-a-kind synth, with a vast 40 GB library of well recorded and edited sounds called soundsources, which are pre-tweaked & tweak-able even further. It also contains a powerful DSP synthesizer that can be programmed independently or mixed in with recorded sounds and effects. There are 780 new presets and more than 5000 patches total in version 1.5. These are not just everyday patches. Every sound I pulled up was a worthy candidate for a CD or film soundtrack. This could be your new Secret Weapon.

to log into the user account, download all the updates, and install them BEFORE authorizing Omnisphere. I followed that advice, so I cant tell what happens if you dont. AUTHORIZATION

how the sound works, and Tags which help in finding the sound in the browser. These Tags also reveal the patch author, sound sources, and more. The top of the synth has set of 8 smaller buttons that represent the 8 Parts. These are actually each a complete instance of Omnisphere its an 8-part multi-timbral synth. Here you can layer up to 8 incredibly complex patches to make whats called a Multi. Maybe I should say mega Multi! Just above that is a Multi browser. Each of the Patches in the Multi mixer has its own individual dual layer sources, as well as controls for volume, panning, and effects; all of which can be controlled in real time or automated with midi. (note - you can still use the Mixer page with a single patch on Part 1 very useful!) There are tons of factory patches and Multis that will make anyone sound like a genius programmer. (Insert big beaming smile!) The sounds in Omnisphere are so rich and over-thetop amazing, I feel like Im cheating already. To the right of that Multi button is a handy System page button that allows you to get to global functions like tuning, memory allotment, and modulation controller info, etc. Spectrasonics has cleverly made Omnisphere friendly to the novice, yet fulfilling to the professional programmer. Throughout Omnispheres pages there are also small clickable circles with a (+) sign to zoom into a deeper level of whatever you are working on. Once in the new level another circle with a (-) sign takes you back again. This is genius! THE ORB Completely new in Version 1.5 is the Orb. The Orb is a retro radar-like interface that works to manipulate your sounds in real time. As you move a small, ball-shaped cursor outward from the middle of the inner circle, your patch gets

Spectrasonics has its own proprietary copyright protection. I love not having to deal with PACE and the dreaded ILOK! Nice idea PACE, but what a pain! Authorizing Omnisphere on both Mac & PC is easy. When you first open Version 1.5 is a free upgrade for registered the Plug-in in your DAW, you can do it right in users and includes the new iPad app, Omni TR Omnisphere through the Internet. Touch Remote for controlling the ORB page My 64-bit Win 7 machine isnt allowed to go and more. Well get to that later online (and thus risk a virus). So I used the Mac REQUIREMENTS and copied the info back and forth with a thumb Omnisphere will be happiest in a newer system drive. It took less than 5 minutes. with lots of RAM. You need at least 2 (actually I applaud Spectrasonics for their software 4) GB of RAM, 50GB of free hard drive space, protection. I havent heard of anyone with OSX 10.5 on an Intel Mac and Win7/Vista on pirated Spectrasonics software. Unfortunately, a PC running either 64 or 32-bit. Omnisphere I do hear stories of other companys software works with Audio Units, VST 2.4 and RTAS host floating out there. It can be a real temptation software. to use free cracked versions. Fortunately most companies let you try their software as a limited INSTALLATION free trial anyway. I know God sees when we do Out of the box is a user guide and a sealed whats right, especially when its so easy not to! envelope containing the program discs. The printed user guide is there to help with GRAPHIC USER INTERFACE installation. The Omnisphere reference manual One thing Spectrasonics excels at is their is included as a searchable pdf, and can also be friendly user interfaces. All of their virtual accessed from within the plug-in. You can also instruments have the same logical layouts. If watch installation tutorials on the first DVD. you learn one, you can get around on them all. There are 6 DVD installer disks. Brew up some This is good news since its got to be one of the deepest Virtual Synths on the planet. coffee because this will take a while. The serial number is inside the cover of the Omnispheres face has four tabs MAIN, EDIT, users manual . . .so dont lose it! Installation FX and ARP. on both MAC & PC is painless, other than On the Main page you will also see the Orb, the time it takes to load the software. While the Visualizer, the Info page, and the Controls installing the DVDs I set up a user account at page. The Info page is very unique as it has the Spectrasonics website. You will need this pictures that relate to the individual sample for authorizations & updates. I was encouraged soundsource, how it was recorded, Notes about

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progressively altered. The depth of parameters is adjustable, and there is beauty in the randomness. Its actually very intuitive and selfexplanatory. I love the dice button to throw the dice and let Orb randomly change the morph parameters. It is so much fun, you have to try it! You can then record your moves in 1 to 4 bar looping chunks, and also remotely control them via midi with a joystick. There is an Inertia button in which the speed and trajectory of your movements affect the moves of the cursor around the Orb. As you let go of the cursor ball, it keeps moving and bouncing around off the walls of the circle. These moves can be recorded and automated as well. This naturally leads to the

DEEP HARMONIA Now were going deeper into sound designer and programmer territory. On the middle of the Edit page Omnisphere 1.5 has an Oscillator module that controls both the Sample and Synth modes. There are four sub pages: FM, Ring Mode, Wave Shaping and Voice Multiplier. Under the Multi page (short for Voice Multiplier) Harmonia mode has the ability to add up to 10 oscillators per patch. This makes for some unbelievably complex textures and sounds. Also note: sliders have replaced knobs.

In Sample mode there is also Granular Synthesis. This splits audio into tiny, tiny bits, and IPad OMNI TR is polyphonic as well. You have to check this out. New in Ver. 1.5 along with the Orb is Omni TR Youll find virtually endless creative possibilities Touch Remote. The Omni TR is a unique touch to try. Also in Sample mode is Timber Shifting & sensitive remote control app for the iPad (free Crushing, as well as the classic shaping tools that synth oscillators do. of charge by the way). This is a must have app for Omnisphere and MORE NEWS is amazing for playing live or in the studio. Omni Spectrasonics just released the new Bob TR takes the Orb concept to the next level Moog Tribute Library for $100.00. This is an because you touch and control the Orb cursor amazing collection of sounds by dozens of top with your fingers directly. designers, including the likes of Danny Elfman, Omni TR has four page views. The Orb page Hans Zimmer, Jean Michel Jarre, Patrick Moraz, allows you move the ball around with a touch and Jan Hammer. This is a killer library of sounds, of the finger. I found it intuitive and very and all the money goes to the non-profit Bob inspiring in the studio. You can also change Moog Foundation for education. Great value Multis, Patches, and more on the fly. Back on and a great cause! the Omni TR Controls page youll find a fun CONCLUSION touch sensitive ribbon performance controller and eight touch sliders pre-programmed to the In conclusion Omnisphere 1.5 has the hippest most dynamic parameters of each patch. They sounds, with the most massive library you can can also be reassigned within Omni TR. The find in a Virtual Synth. The paradox to me is how ability to control all these parameters in a live any synth could be so easy to use, and yet can setting is powerful and really cool. There is also potentially go so deep at the same time. You a Jumbo page in Live mode to quickly access will love the factory Patches & Multis and you any of 8 patches at a time. Also, you have the can dig deeper when you are ready. Take full iPad Zoom feature, which is enabled in Omni TR advantage of all the excellent tutorial videos making it easy to see the small stuff. The app is online at Spectrasonics and on YouTube. http:// well laid out and easy to use. Omni TR makes www.spectrasonics.net/products/omnisphere. php Omnisphere the beast of live performance. BRILLIANT BROWSERS There are actually two main browsers in Omnisphere. One is for the Multis, and the other is for Patches. (note: a third browser is also there for soundsources) With 40 GB of sounds, over 5,000 patches and 8,000 sounds total including soundsources, the browsers are your friends. Spectrasonics came up with a well thought out filter-based browser system. It incorporates instrument names, and seven custom attribute tag filters. You can browse by Instruments, Attributes, and Libraries, including your own. There is a search function as well. Going through thousands of sounds is simplified further in that you can tag the sounds you use by Project. And I found this very helpful to re-access patches I used earlier in a certain song on another project. The Omni TR iPad app makes Omnisphere 1.5 perfect for the guy who likes to get creative in a live setting with the wacky Orb, the Ribbon controller and the 8 Touch Sliders. If you only could have one synth, this is the ONE to have. As far as wishes go, it might be cool to see Omnisphere in a keyboard hardware version. With a retail price of $499.00 Mac/Win, the value is a 5 out of 5. You will not regret buying this synth, and I imagine it will be around for a long time to come!

Michael Hodge is a producer, engineer and recording artist. Hes a guitar player on staff at Lakewood Church in Houston TX. He and his amazing wife Carrie Mcdowell Hodge record and lead worship together at conferences I found the Browser very user friendly, internationally. Their passion is for the nations and to especially considering the vast library! Without stir up the next generation of worship leaders both it you would burn away hours auditioning the singers and musicians . Michael is in constant pursuit lush sounds in this beast. of great tones and great gear!

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CAN YOU HEAR ME NOW?by Keith Mohr & Sue Ross-MohrIf you are not out there, how will they know you are out there? Communication of your vital information to your audience is what sets the successful ministry/business apart from all the others.Lets talk a little about the avenues of communication and where they should go, when they should go and how they should go. Promotions and moichandizing. Remember that famous quote from SPACEBALLS, Yogurt: Moichandizing, moichandizing, where the real money from the movie is made. Spaceballs the T-shirt. Spaceballs the lunchbox. Spaceballs the coloring book. Spaceballs... the flame thrower! Kids love it. And my favorite, Spaceballs the Doll -- me![Pulls string] Doll: May the schwartz be with you! Yogurt got it! He knew that once the movie was over, the continuation of communication would come not just from new individuals watching the movie, but also from the handson merchandising that would lead new and old viewers to continue engagement. From working with independent Christian musicians for almost a quarter of a century, we understand the meld that takes place when merchandise-ing yourself broadens the promotion of yourself. Therefore leading you into communication with your audience. Its like a domino game. One touches the other and then touches your audience, who then touch others with your stuff and thus the circle comes back as they reach out and touch you! This is viral marketing 101! Another avenue are those age old Press and Info Releases. There was a word we came across this week, retrocede. The definition which leads us returning to takes us back to some of the grass root ways of communication and then we build on this recipe by adding the ingredients of this age of new communication. So much of your information gets lost in the sauce of the world wide communication outlets, due to the construction and implementation of your information. For example, many artists we sit 34 SEPT/OCT 2011 down and talk to want fast food hype. They expect one bit of press/promotion to blow up their name and they sit back and wait for it to explode. We are always amazed at their disappointment when it actually implodes like a souffl that has been taken out of the oven too soon!!! Promotion and Marketing need to have time to marinate. There needs to be a plan for each and every stage. Hit and Run promotion can leave your audience with a big huge who was that? Once your promotion is ready, provide it everywhere and then provide it again and again. Re-cycle and re-use. Go green with your promotions. Disney sure does. They regurgitate songs that are 10 years old and put them into a brand new compilation with a couple new artists and then artists of old. Then you hear about it EVERYWHEREUnlike yesteryear, the modes of communication are limitless. They are vast. Use them and fill them up with YOU!

Communication in Your Indie Music Business/Ministry

you take the time to update your website/ face book/twitter, etc? There are so many other places that individuals can click on UPDATE, UPDATE, UPDATE or you be will OUTDATED. Old news is bad news and is worse than no news at all. There is so much more to talk about in regards to communication, but to size it all up, remember the most important aspect in anything you present to the public is the quality of your content. People respond to content that moves them, from music, to press releases, bios, pictures, everything. Make sure what you are producing will move and serve the consumer in some manner.

As you can see, we have barely touched the surface in regards to communication with your audience. There is no ceiling. Especially when you work in your box, but outside of the box of the rest of the world. The key is your plan. Making sure that all your is are dotted and Dont hurry and forget the facts. Be clear. your ts are at least in the same alphabet:) In this age of over-sharing, many of us are tapping our foot, waiting for the information Were here to help you evaluate your content, to be released, justifying the saying, Just the and provide helpful suggestions to improve. facts maam. My response to this quote is Contact us at: keith@indiemechanics.com PLEASE provide the facts!!!! I opened an or sue@indiemechanics.com and we will email this evening inviting me to a face book schedule a time to personally work with you event. I was extremely interested in the and your needs. In the meantime, remember artists gig, but lo and behold I couldnt even to keep your communication open and out tell what city it was in. All that was provided there. Until next month, we are, was the name of the street. How many of Creatively His, your audience are so enamored with you Keith and Sue that they will take the time to guess where The Indie Mechanics you are going to be. Promotions should not www.indiemechanics.com be a Wheres Waldo search and find puzzle. Everything should be extremely clear. Reduce it to the ridiculous! Have a checklist in front Keith and Sue of you before you start, so none of those Ross-Mohr have important details are omitted. By doing so, years of experience you make the numbers larger who will reply serving independent artists, just by taking that extra step. An awesome Christian musicians and flyer reiterating all of this info sure wouldnt songwriters. Keith hurt also. Put together a TEMPLATE and then founded www.indieheaven.com in 2002, the fill it in with the info from each and every leading portal for Christian independent music. event you are going to play. If the venue has Sue Ross-Mohr founded www.theinnervizion. already done one, use it! Remember if you com in 2003, a creative promotions /marketing/ consulting service to individuals and companies dont use it, you will lose it! Update to Communicate. How often doworldwide.

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Last issue we looked at inversions of an Amin7 chord, which also happens to be a C6 chord, its relative major. Amin7 = A C E G, and C6 = C E G A, the same notes just in a different order. I showed you several chord shapes in open and closed voicings. A closed inversion means we have chords using four adjacent strings. An open inversion means we skipped a string in the voicing. I diagramed 20 different chord shapes of Am7, but since they are also C6 you got 2 for 1. . .so 40 different chords, depending on how you look at them! This issue I want to show you how you can take each chord and lower one note and turn it into a Min6, Dominant 9th or Min7b5 chord. Remember this article is The Fretboard Less Traveled so lets find some new ways of playing old progressions and discover some new sounds.

C6/Amin7 moving to D9 (Amin6 or F#m7b5)String group 15fr 4fr 7fr 7fr 10fr 10fr

Closed Inversions 4fr

2fr

2fr

5fr

5fr

9fr 9fr

7fr

12fr 11fr

String group 2

5fr

7fr

10fr 10fr

String group 3

The Chord FormulasAmin7 is spelled A C E G. What is the chord when I lower the G to an F# and I get A C E F#? Give up? Its three chords! Amin6, F#m7b5, and D9 (omitted root) Amin6 has a chord formula of Root, b3, 5, 6 = A C E F# F#min7b5 is spelled Root, b3, b5, b7 which translates to F# A C E (the same notes)

Strings 6432

Open Inversions5fr 4fr 7fr 7fr 10fr 10fr

8fr 8fr

12fr

11fr

Strings 5321 The formula for D9 is Root, 3, 5, b7, 9 which 2fr 2fr 5fr 5fr translates to D F# A C E. Again, the same notes with the exception of the D root. If we go with the assumption the bass player is playing the root or the other guitarist is playing a root position chord we can substitute A C E F# (Am6, F#min7b5, or D9, however you want to C6 chord. The second can be interpreted as look at it) for D7! an Am6, F#m7b5 or D9 (root omitted). Get Inversions familiar with these grips. Youll find most are Last issue you learned 20 inversions for fairly doable; some you might not have any use for yet. Yet being the key word! I have either an Amin7 or C6. a video on this lesson to help you incorporate Now all you have to do is lower one note to them and plug them into your playing. Go to get a Dom9, Min6 & Min7b5 chord. A pretty www.99centguitarlessons.com and click on good deal for the time invested! Now, lets the CHORDS button, then MAJOR 6th play the chords. MINOR 7th INVERSIONS. The Chord Diagrams Next issue well put them in progressions. Til The first chord in each measure is an Am7 or then, may God bless your hard work.

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Ask Joeby Joe Riggio

Q A

I am considering the purchase of an Asian import version of my dream guitar: a Gibson ES-335. The Epiphone DOT seems to be the best candidate, however some are made in China, some in Korea, etc. Is there a difference between them? What are some upgrades and services I could invest in to maximize its potential?I would consider Lindy Fralin, Lollar, Nordstrand, CGA, Sheptone, etc. There are far too many great choices to list here! Pots/SwitchesSet-UpThis is the big one. A properly set-up instrument will make all the difference in the world in how well your guitar plays, sounds, and inspires. One of the biggest expensesavers for guitar companies is the lack of professional Techs to set-up the instrument at the end of the line. Even without any of the upgrades weve talked about, this one will should be performed as soon as you can possibly afford it. And, just like everything else: you get what you pay for. If your buddy says he can do it for twenty-bucks, dont expect amazing results, unless hes a qualifie