One of the highlights of our Easter service for me this year was our acoustic set. “Set” is probably an overstatement; it was a single song. We did All Sons and Daughters’ Your Glory/Nothing But The Blood. As we were brainstorming the best way to do this, we hit on the idea of doing it sort of bluegrass style with the musicians clustered around a single microphone.
As we talked about it, we didn’t think we could pull that off, but I thought we could do two mic’s in front for the vocals and guitars. A small acoustic drum kit (kick, snare, hat) would be in a rolling platform we could bring in for that song. We would have the bass and cello players stay where they were, the keys player could play accordion from keys world. It sounded great in theory; but we’d never done anything like this before. So we thought we should test it.
Figure-Eight for the Win. Almost.
We own a pair of AKG C414 IIs. As multi-pattern mic’s, one of the options is figure-eight. I thought it would be cool to position the two guitar players facing each other on one mic, and the two vocals facing each other on the other. In our testing, it seemed to work OK. But when the rest of the band got there, it wasn’t happening. We muddled through rehearsal, but I don’t think anyone was really happy with the result.
I went home and thought about it for a while. A few days went by and I decided I would rather have the mic’s in a wide cardioid pattern with the two pairs facing the audience. I suggested this to Justin, our worship leader and he completely agreed.
Cardioid for the Win. Really.
This actually worked. As soon as we tried it out at Saturday’s rehearsal, we all knew it was the right call. The musicians felt better leaning in to the mic as they were leaning in towards the audience. My gain before feedback went up quite a bit, which made everything sound better. I was running both mic’s through the two channels of Portico 5045 (aka “The Magic Box”), which further helped clean them up. This was what we were going for.
The Rest of the Band
House left to right, we had the accordion played by our keys player. I decided to bring my Heil PR-40 in for this one. It sounded really good and required almost no EQ. So that was easy. Our cellist has a pickup in his cello, so again, easy. For the acoustic drum kit, our drummer brought in a small kick a snare and hat. I put a Beta 91 in the kick and stuck an old SM-81 on a boom stand for the rest. I wasn’t concerned about getting a huge drum sound, and he played with brushes. It was more of a vibe. Our bass player brought in his Hofner, which has a nice fat sound that stayed out of the way of the vocals.
Lighting Sets the Mood
As is the trend these days, we went with a tungsten look for this tune. My LD Thomas did a great job creating a simple look with the movers, and added some Parnells for up-lights at the feet of the four up front. In contrast to the rest of the music set which was full of color and movement, this song was pretty sparse and simple.
For many, this song was the highlight of the service. I thought it carried the most emotion and weight and felt really good. The only downside to this song is that I don’t feel the mix on video really captures what was happening in the room. Our broadcast mix is really dialed for the big songs and speaking; but I didn’t have time to get this dialed in as well as I hoped. Still, it’s not bad, and I’m including it here for you to see what we did.
Some of my friends (cough…Andrew Stone…cough) don’t like accordions and mandolins, but personally, I’d do this again in a heartbeat. It was a lot of fun.
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This week we talk about visual silence, multi screen environments, visual worship and a host of other topics related to immersive worship environments. Plus, some great new products in the news!
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Several people have asked if I was going to write up our set and program from Christmas Eve. Since that’s pretty much what I do, here you go! This Christmas Eve was a lot like the past two, at least from a programming perspective. The look has been similar but different each time. In 2011, we stopped doing our big Christmas production and instead did Simply Christmas; four services on Christmas Eve. I joked at the time that I was glad we didn’t do Complicated Christmas, because from a production standpoint, it was anything but simple. But we made it work.
The Ghosts of Christmas Past
The look for that year was designed to be warm and inviting, simple and down to earth. My design principle was to put together something some kids would build if they were in a barn in the country putting on a Christmas service. We used a lot of OSB, hanging antique lights and an old piece of muslin for a screen.
Last year, we kept the hanging lights, but cleaned up the look a bit. Instead of OSB, we build luan panels and the block wall. It was still warm and inviting but a little more sophisticated.
Similar, but Different
This year, we changed it up some more. Instead of the giant, artificial Christmas tree we’ve used in the past, we build a 16’ tall one out of pallets (and a few smaller ones). Instead of hanging the bulbs, we made the CMA lights. And we repurposed some old PAR cans from a student room and created our version of the Dewey.
In past years, we’ve never been able to do much with lights, because, well, we just didn’t have that much to work with. This year, as part of our end of life equipment replacement fund, we picked up a dozen Elation Impression 90s, and another eighteen FlatPars. This gave us an incredible amount of color to work with. The past two years have been a lot more about the sets, this year, it was a lot more about the lighting.
Our older Studio Colors are now in the house and give us options there, while we kept the Martin 518 RoboScans as a cool beam light upstage.
Rentals that Almost Didn’t Happen
Due to a rare accounting glitch, we found ourselves with no budget for Christmas this year. I had planned on renting six VL2500s and three snow machines from our usual supplier, but when the price came back, we couldn’t do it. Even after they lowered it, it was still out of reach. Then I talked with a new CTA sponsor and local rental house, Pacific Coast Entertainment. They put together a package of six Elation Platinum Spot 5r Pros and three Antari snow machines at a price low enough for me to move some money around in my operating budget. So we were able to make it snow again for Christmas.
The Platinum Spots, while not nearly as bright as the VLs, were certainly good enough, and the Antari snow machines were actually much better than the ones we’ve been renting. You can see the Platinum Spots on the upstage poles, surrounded by Color Blasts.
A New, Brighter Look
With all the new lighting we have to work with, the service was much brighter than in years past. We’ve completely re-hung our front light this year, and that’s driven a lot of the new look. Of course, having two dozen moving heads on stage gave us a lot to work with as well. I have to give a lot of credit to my LD, Thomas Pendergrass. He did an amazing job not only with the lighting design, but programming as well. And of course, the rest of the team pitched in and helped make the set possible.
Overall, I was very happy with the way the service looked this year. About the only thing I didn’t like is how cluttered the stage looked. We added three musicians this year, which meant more cables, more M-48s and more mic stands—not to mention keyboards, music stands and all the cabling. It just looked cluttered to me; not sure how we’ll address that in future years, but it’s something I want to look at.
So that’s a little bit about the set. Later this week, I’ll talk about mixing it, and talk about a calculated risk I took that didn’t really pay off. In the meantime, if you want to see the service, here it is on Vimeo.