July 21, 2007
Presequenced elements (often referred to as loops, samples, etc.) are everywhere in modern music—and not just in genres you would expect, like electronica and hip-hop. Even in live rock acts, a laptop or MPC on stage is commonplace alongside the traditional guitar/bass/drums. Worship leaders have become accustomed to hearing these elements on worship recordings by everyone from David Crowder to Paul Baloche. So you may be asking yourself, as a lot of us have, if using these elements would be beneficial to your community of faith… and if the answer is “yes,” how to implement them successfully! This is the first of a series of articles that will attempt to answer these questions and point to some helpful online resources. Ultimately we’re considering if and how to include a new instrument in worship, and just as if we were endeavoring to to bring in some other instrument, say a violin or percussionist, we should seek to include it prayerfully and excellently.
Deciding if you should use loops- concerns:
We have to remember that there are no rules or expectations about what our music sounds like in worship. There are as many styles and vibes to worship music as there are churches. So, we have to ask, do we want to use loops or samples because it is the current fad or to match the sound of a particular recording artist? While this isn’t necessarily a red flag (there are trends in all kinds of music), our first concern should be what our community of faith needs to connect with their Creator in our gatherings.
The rhythmic relationship between the programmed elements and the drummer is also very important. Even when loops (which don’t necessarily have to be percussive—it could just as easily be a trumpet sample, etc.), are used well, the band—especially the drummer—will have to adjust to playing with a “click track.” Some drummers see the potential benefits of this (more on that below) and are fine with it… some may see it as a challenge to their role on the team. Of all the people to bring aboard if you experiment with these elements, your rhythm players are number one.
It is also good to consider your available personnel, time, budget, and equipment. Someone has to arrange/build the loops and implement them on stage… if that person is you, do you have time to allocate to it? If it will be another team member, does he/she share your concept for the team’s sound, and can they create elements that compliment the roles on the team rather than competing with them? Likewise, does the church or an individual have the budget to get the equipment needed, like a laptop, sampler, or midi controller? What is the monitor setup like? In-ear monitors, at least for the drummer and worship leader, are a huge benefit (though not absolutely necessary) for working with loops.
One last recommendation is that I wouldn’t attempt to “replace” the roles of live players with loops unless you are intentionally following a creative vision for sample-based worship. Of course, samples can be a lifesaver–especially when all your drummers cancel! Nonetheless, a sampler or computer can never replace the gifts or presence of a worship musician on stage.
Deciding if you should use loops- benefits:
Presequenced elements can add so much to your team’s sound—or better said, it can add whatever you like to the team’s sound! Loops can be used to give a groove to the sound (perhaps a conga/tambourine inspired sequence over a drummer’s straight rock beat), or a simple loop can be used as a rhythmic “drone.” Loops also open the door to styles inaccessible with traditional instruments… for instance, music similar to what The Postal Service creates would be very difficult without a laptop on stage. Ultimately, it is just one more layer that can add texture and meaning to our songs.
Along with the effect on the overall “sound,” presequenced elements (like adding any instrument) will affect the way other team members play their instruments. Timing can be “unsteady” at times on our worship teams, as we work with musicians with diverse level of experience. Using preprogrammed loops gives the team a reliable element that can help keep them locked to the correct tempo. Likewise, the added syncopation and rhythms change the musical landscape and often inspires musicians to arrange their parts in new ways.
Personally, I have a passion for worship and music technology, was willing to foot the cost (of time and money), love the sound that prerecorded elements can bring, and it fit with the church’s musical vision—so it was a no-brainer to decide to go down this road musically. In the next post of this series, I’ll discuss the various approaches to implementing loops, and how I settled on the strategy I use. A big disclaimer here: I’m no expert on any of this–just hoping to share what I’ve learned with whoever can use it.
For further reading, check out David Delgado’s post “Drum Machines and Drum loops in Worship” for another perspective on loops.
Got questions or thoughts? Leave a comment below and let me know!
Posted in Loops in Worship
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