Frodebro
Shredder
- Messages
- 2,266
The Lord works in mysterious ways. But ALWAYS through a Vox AC-30.
With a dotted eighth delay and four reverbs stacked in series.
The Lord works in mysterious ways. But ALWAYS through a Vox AC-30.
Never having either been involved with nor attended a service where there was that level of stage production, I can't really speak to the demands. It would stand to reason, however, that something like that would have to be very well-rehearsed, with a set order of tunes. I wouldn't consider trying to use a storebought preset for that; I'd roll my own.But then I imagined playing a 2 hour service where the music has to be dead nuts tight every step of the way and you're covering all sorts of sonic ground the whole time.
Back when I was a full-timer, churches didn't have "praise bands." And, honestly, I wouldn't have considered trying to land a gig like that.Even if I wanted to though, my attention span is too shot to be able to pull anything like that off these days!
Back when I was a full-timer, churches didn't have "praise bands." And, honestly, I wouldn't have considered trying to land a gig like that.
Presets for church music, usually clean(ish) with ungodly amounts of reverb, because, you know, if there's anything a church needs, it's reverbWithout wanting to be disrespectful, WTF are "Worship" or "Praise" Presets?
They're what you need when you bring your modeler to this kind of gig:Without wanting to be disrespectful, WTF are "Worship" or "Praise" Presets?
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Presets for church music, usually clean(ish) with ungodly amounts of reverb, because, you know, if there's anything a church needs, it's reverb![]()
In the early 1980s, the trend of churches having rock music at their services, although still in its infancy, had already begun. One of the keyboard players I worked with ca. 1982 was also music director at his church. In discussions about liturgical musical styles, I characterized the use of rock music in churches as a misuse of the medium. IMO it was a lot closer to summoning the devil (not that there's anything wrong with that) than to anything else.Lightning would have struck me dead with the first power chord!![]()
Presets for church music, usually clean(ish) with ungodly amounts of reverb, because, you know, if there's anything a church needs, it's reverb![]()
So, If I tweak a preset to cover a song of one of these Nordic Black Metal bands that worship Satan and burn churches, and I share it without telling anything, those who play with that preset are also praising Satan?
Sweet! Sign me up! Rege Satanas!IMO it was a lot closer to summoning the devil
Praise and worship Satan? Count me in!Here we go! You got it!
Best to share that preset with the P&W community!
I have nothing against what you're saying, and I actually agree to some. However presets sometimes serves as inspirations to amateurs and therefore helps an amateur jumpstart their journey.To be honest, I can't exactly agree with that - at least not in case fullblown presets are concerned.
Thing is, if you want to learn how to build your own presets, you'd likely have to reverse engineer existing ones if you really wanted them to be "helpful". But that very process in itself can be extremely cumbersome, especially as soon as there's some hidden things going on, such as parameters being modified in a kinda hidden way (as an example: snapshot/scene parameter modification) or such as complexed routings with lots of interaction going on.
Fwiw, I have been there when regarding synth patches. I had absolutely no clue what was happening back in the days and people told me to "study" some existing presets. Which really only worked in case they were super simple. As soon as OSC mixers, modulations, sync functions, FM and what not got involved, it all became totally foreign gibberish again.
What really helped me was some synth patch creation series in the german "Keyboards" mag (they even had their own softsynth so everybody was on the same page) and SOS mag's (still excellent) "Synth Secrets" series. Both of those were about exploring and understanding the guts - and I had sooo many "oh, so this is how it's done" moments no single preset examination could've ever caused.
I think it's the same with modeler presets. Watch some tutorials and start with the basics. Understand which amps are there for which kinda sounds (at least sort of), which cabs go best with them generally and how to tweak just those. Proceed with drives. Maybe add some compression. Then proceed with FX.
Very fortunately, this is a lot easier in the amp modeling world compared to synthesis (unless you're going for huge ambient patches).
So, I'd highly recommend looking for patch creation tutorials instead of purchasing presets.
And fwiw, very often presets don't work too well anyway, simply because your playing and guitars might feed them with quite different things than what the patch creator used.
Some of them are very well paid. I know three world-class musicians who regularly do paid church gigs. They are religious, but they don't work for free. There's one megachurch here in North Texas that has the Dallas Symphony Orchestra perform on occasion. You can bet your ass they're getting paid for that.OT but something I was always curious about: Are these P&W gigs paid well?
Some of them are very well paid. I know a three world-class musicians who regularly do paid church gigs. They are religious, but they don't work for free. There's one megachurch here in North Texas that has the Dallas Symphony Orchestra perform on occasion. You can bet your ass they're getting paid for that.