Launched in June 2015, GuitarforHISGLORY is dedicated to the worship guitar community, and exists to exalt the name of Christ and proclaim the Gospel to all creation.
For exclusive lesson content for worship guitar players, including Worship Guitar Boot Camp, become a member at guitarforhisglory.com.
🎸Purchase Kemper performances, Line 6 Helix presets (presets for each song), Strymon Timeline and Strymon Big Sky presets at www.guitarforhisglory.com/shop
🎸Purchase the Worship Essentials Kemper performance pack and Line 6 Helix Worship Essentials pack at www.guitarforhisglory.com/shop
🎸Need help with your tone or playing in the worship genre? I give guitar and tone consulting sessions via FaceTime/Skype. Read client testimonials or schedule a session at www.guitarforhisglory.com.
Anyone have advice on the music theory behind the triad shapes at 8:20? What are their names and root notes? I can play what he's playing - but I don't know WHY he's playing it, so am having trouble quickly transposing to other keys or using these in other applications.
Hey there! I handle shirts on Etsy. Here's the link: www.etsy.com/listing/1697353213/guitarforhisglory-t-shirt Let me know if you have any questions! 😃🤝
Glad it was helpful. There’s a ton of resources, including ones that cover your question, at GuitarforHISGLORY.com. I invite you to become a member and check them out!
I feel like the bridge pickup on my Silver sky SE is too bright, even on my Strat. I dislike using it and I mainly have to stick to the neck pickup. Any tips on how to fix the bridge brightness?
@@JMartinDA Just a quick reminder from the video-when setting up your rig, it’s really helpful to EQ everything, starting from the amp, specifically with the bridge pickup in mind. This should help you get the best possible sound. Let me know if you need any further clarification. 😃
I just sent this to like 3-4 people at our church who are just starting out. So good and so clear. You’ve been such a blessing to the praise and worship community. Thank you!
Maybe this is a dumb question, but with 2 different amp models hard-panned L and R, doesn’t this mean the people on the L and R sides of the church will hear more of L and R amps respectively? Maybe that’s okay, but just thinking of getting as consistent a sound everywhere. Also, in your in-ears, you can hear L amp in your L ear and R amp in your R ear, right? Thanks! Love you stuff. The ppt was very nice, I’m visual so it helps seeing your signal chain.
That's not a dumb question at all, and you're exactly right about both aspects of the question you asked. That's why it's not a terrible idea to run the same style amp on both sides. I think we overblow the benefits of running two separate amps; however, the big difference comes in when we are able to stereo pan, which takes the entire stereo signal (L and R) and tilts it toward the left or right side of the mix, so the net effects is that the ENTIRE stereo signal is being panned. Just have to make sure everything is in phase.
My heart agrees with 100%. What I used to play before I was saved I've lost that desire to continue in it. I know brothers in Christ that can do both and I know that Christ is 1st in rgeir life, but myself I work at being the best worship guitarist I can be for His glory!
Sweet rig and sound man. Any tips on transposing this to the key if F? I can capo on the 1st and play the opening riff on the B and E, but I need some direction for the chorus to make it thicker. Thanks. And thank you for the Pod Go patches! Still use them all the time!
Little different content but I appreciate it. Great video and great insight/info. Seems like a great induction into the many things you offer on your site. This is great indroduction for any new players in this genre.
A lot of good stuff here. My one addendum would be that I think there’s always a space for creativity, but you’ve got to think more like a Nashville session guy than a headliner. We’re all likely serving in different contexts: one church may have an acoustic and a piano, another a traditional rock rhythm section, another various stringed instruments thrown into the mix in addition to whatever layers are there. In these varied contexts, we have an opportunity to apply our creativity to develop parts that support the song-and by extension, the worship of God. For the acoustic and piano, that might mean a lot of give and take so that the arrangement is full but without sonically redundant parts. For the rock rhythm section, the challenge could be finding a good balance of distinct rhythm and sonic width so that it is both rhythmically and harmonically clear where the song is going. For the denser, string-assisted unit, maybe it’s spending as much time arranging silence and short phrases as you do on more traditional rhythmic guitar parts. I have personally grown to love this sort of creative expression, because its aim is to beautify the musical worship of the Lord by contributing to that “one voice” instead of distracting from it (when I succeed, anyway!). I do understand what you mean when you say that we’re not owed a forum for creative expression on the Lord’s Day, and I completely agree. I just mean to say that our creativity and excellence can be an offering: we only need a bigger, dare-I-say more “body of Christ”-like vision for how the Lord may intend for us to use our gifts. Anyway, this was a refreshing video to stumble on. Lord bless you, brother.
@@ALightShiningInDarkness This is just one layer, as you mentioned. The other layers are fully explained and demonstrated in the training videos at GuitarforHISGLORY.com. 🤝🏻
In the last 10 years I have used a modelor to work with a quiet stage environment. One of the challenges with starting with a clean amp (EOBU) is having a clean that isn't too thin sounding. There is a number of things that can help this, compression, EQ, and the right pickups. Recently I added a ToneX to my rig and the captures I found seem to be much more open and rich with harmonics and that also helped. I ended up with a 65 Fender Deluxe and an AC30 as my two go to amp captures.
Did I understand correctly that you place modulation after delay and reverb? I'll have to try that. Everything I've seen put any modulation between drives and delay/reverb. Obviously, there is not a "wrong" order if it works for you, I just wanted to clarify that I am following you correctly. Thanks!
I like modulation after, because the reverb doesn’t wash out the modulation as much. You’re totally right about there not being a “wrong approach.” That’s what has worked for me, so I’ve just stuck with it. 😃
Hello bro, peace from Brazil! Awesome tips. I think I need to work close with my teamates to better know our style tonal range, because we play several different styles in my church. You know brazilian sounds... lol We usually goes from reggae, bossa and samba to rock and CCM as fast as a blink of an eye. I think I need adapt my tone and board to this kind of situation. If you have some additional tips I highly appreciate 🙏 God bless you bro!
You didn’t mention mix level for delay and reverb. I’m assuming that for subtle delay/reverb the mix knob would be below 12 o’clock and for more strident reverb/delay, the mix knob would be in the 1 to 3 o’clock range? Great content!
@@duanebutler8484 There’s deeper dive videos on reverb and delay settings in the training videos at GuitarforHISGLORY.com. I hesitate to be specific about knob placement, as each delay is different. It’s more about what it sounds like than where the knob is. 👍🏻
Our church has a more traditional - or southern - leaning (even when doing newer songs), so I really struggle digging into the gainier parts and riding on my bridge more. In my personal music or blues rock stuff, I'm on the bridge primarily, but it just seems to clash so much at our church. I'm slowly warming them up to it... just a bit more each service haha. Good informative video, man.
@@guitardweeb I’m glad the info was helpful. You’re in a unique spot, because we always want our playing to complement the vibe of the music. For example, if we didn’t play with big synth tracks, big drums and bass, my approach would have to be modified a touch (less aggression). I’d still use the bridge pickup, but I would make sure to roll of some high end and play a little more reserved.
I was in this position about a year ago. Believe it or not what helped me sneak electric sounds more and more was leaning more on single coils than humbuckers. Really helped me keep the gain levels under control.
