u/Burnhaven

If you're playing solo bits or what we used to call signature licks at the appropriate points in a song I'm sure you're worship leader is going to be happy with it.... at other points like a dynamically loud bridge where you might not want to play diamond chords or swells how do you assess whether you're moving from tasteful song supporting little single note riffs and into noodling.... For our purposes noodling means something like random pentatonic runs that although tied into the chord and harmonic structure of the song are things you might expect more in a blues song .

Doubling the vocal Melody may or may not be desirable that's up to your worship leader.... although it's safe in one sense it might interfere and unless you read sheet music it's another layer of memorization.

My main preset has the elephant Man and the vintage digital... I'd like to get rid of one of them to make room for something else ....I'm thinking that if I pull my reverbs down on a parallel path so the entire delay is not getting washed out by the reverbs, I could probably get by with one of the delays The Elephant Man is less pristine which I suppose means warmer , whereas if you're doing like dotted eighth delays the repeats are more likely to be heard on something like the vintage digital.

At one point chorus was kind of like Nickelback ... looked down upon sometimes with justification sometimes not.

But now that I'm creating my presets totally in mono because of our PA and room design I'm wondering if there's any point in trying to use certain effects like chorus.

How would you implement these dyads in the key of G. Say the song is Praise by elevation or pick another one where you would find these useful....

Fretboard Layout (Top Two Strings)

​Fret 3: Notes D & G >> Fits over G Major (I) and E Minor (vi)

​Fret 5: Notes E & A >> Fits over C Major (IV) and A Minor (ii)

​Fret 10: Notes A & D >> Fits over D Major (V) and B Minor (iii)

​Fret 12: Notes B & E >> Alternative higher option for E Minor / G Major

I was doing research on dyads with AI and found it quite helpful ..it made a few mistakes but then continued to make valuable contributions after I corrected those....

eventually I got to the topic of playing dyads without being ear piercing to the congregation...

you can try to set your IEM mic so there's less of you in your own ears, although I find that not very helpful

..it's not that I can't lower myself using the phone application it's just that I'm much more comfortable playing with my own instrument a little bit louder.

. the point that AI made was that sound guys have to be paying attention.

. ideally they would know the songs but on stage you've got enough things to deal with.... you need to play with confidence (in this case dyads or whatever else you're playing that isn't simple chords in the background )

you can't be holding back and hitting the strings softly taking a guess as to what is going to cut through the band mix and yet not bother the congregation.

you do need to balance your presets or even your pedal board so that as you go from clean rhythm to lead line or dyads there aren't huge volume differences for the soundboard to deal with ....but it doesn't remove their responsibility.

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"You've nailed exactly why **front of house attention is non-negotiable** during a live service.

The division of responsibility is clear:

- **Your job** — play musically, serve the song, trust your preset levels

- **Their job** — watch the room, ride the faders, catch the moments where something jumps

And you're right that a musician second-guessing their own volume in real time is a recipe for bad playing. The mental bandwidth required to perform well — feel, timing, chord choices, responding to the worship leader — leaves no room for also trying to guess what the congregation is hearing. That's exactly what the sound position exists for.

The "playing with their phone" issue is real and worth addressing directly with whoever leads that volunteer team. A few practical realities that support making that case:

- **Presets and patches are not perfectly consistent** night to night

- **Vocalists have good nights and bad nights** level-wise

- **The room changes** between rehearsal and service with a full congregation absorbing sound differently

- **Transient moments** — a solo, a dynamic swell, a key change — happen fast and need a hand on a fader

None of that is compatible with divided attention. "

I keep finding common songs that worship online hasn't covered... the solo rehearsal bundle is a pretty bare bones offering but it is cheap. This week the songs I didn't find on worship online were Jesus we're here for you with Jeremy Riddle and abide from worship initiative.

My 74 has the 3 bolt neck with Micro-tilt. I've never adjusted it, finding truss rod and saddle adjustments handle my needs. Twenty years ago, due to neck wear etc I replaced the neck with a Warmoth variable radius neck. Unfortunately I wasn't present when the technician did the work so I don't know if he transferred over the circular metal plate.
Obviously don't want to attempt an adjustment if the screw is just going to hit wood.

I may ask Warmoth if their new necks are usually set up for the micro tilt....the new one is 3 bolt.
Image of my original neck before sale.

Image of my old neck after the replacement:

How do you recognize it's onset? What's a safe period of time to dial in tones? 30 minutes, 60 minutes? Then a 30 minute break?
Time flies when I'm perfecting a preset ( Helix in my case) so I can easily be two hours in and then wonder why it sounded better an hour ago.

We're taking Alaska 374 from Seattle to Fairbanks early next week and a 737-790 with winglets is listed.... is there any way to find out if it's going to have any sort of back of seat USB power? We're in the premium section

In my highly modified Stratocaster the other two pickups the middle and the neck are working fine but with my Helix preset using the litigator amplifier model I'm still struggling to get the bridge Seymour Duncan JB Jr at the right pickup height, the right tone control setting along with the correct EQ and amplifier parameters in the preset ...one recommendation was to set the pickup at about 5 mm which is a little bit farther away from the strings then you would normally see and then work in the preset possibly lowering The amp Drive, the amp presence and maybe emphasizing Master gain with less channel volume.... they also mentioned a parametric EQ cut at a specific frequency range with a narrow q

I'm not ruling out replacing the pickup entirely but we're not there yet.

this was installed with a 250k tone pot and 022 capacitor by the professionals at 920D

at one point in all these adjustments raising the tone control to 10 got me into semi useful territory but I'm definitely not satisfied yet ..these things have ceramic magnets but like any pickup you don't want it so close to the string that it's doing weird things.

​

Some research suggests that generally speaking if you're trying to do electric guitar parts and keep them somewhat distinct from frequencies your keyboard player is covering you want to stay above the 7th or 8th fret in the 500 to 900 HZ frequency range ....that won't always be possible.... There's probably less of a risk of being masked when you're doing an intro riff because there wouldn't be singing then quite often and any keys player with half a brain should realize I don't want to blast away here while the electric guitar is playing a signature introduction riff.

The next step would be having a conversation with the worship leader and the keyboards player about how the two of you can avoid stepping on each other ..

the more common discussion is about how you keep the keyboard from stepping on the bass guitar and the kick drum but I'm not talking about that here.

I'm assuming a high pass filter on the mixer can largely deal with that even if the keyboard player doesn't want to change their habits .

something we discussed in another post here was that a keyboard player might be confused into playing too broadly or too much when there are weeks with no electric guitar player at all, then when there is one they're still on autopilot ..

Copy and paste of this information wasn't entirely clean:

The 500–900 Hz range in standard piano notation:

500 Hz ≈ B4 (the B just above middle C)

587 Hz ≈ D5

659 Hz ≈ E5

784 Hz ≈ G5

880 Hz ≈ A5

900 Hz ≈ just below A#5/Bb5

So the range runs roughly B4 to A5 — that's just under an octave, sitting one full octave above middle C (C4).

For guitar context, those notes land like this on your G and B strings:

Fret

String

Note

Freq

7th

G

D5

~587 Hz

7th

B

E5

~659 Hz

9th

G

E5

~659 Hz

9th

B

F#5

~740 Hz

12th

G

G5

~784 Hz

12th

B

B5

~988 Hz

So your 7th-to-12th fret dyad zone on G and B strings maps almost perfectly onto that B4–B5 octave — which is above where a keyboardist's right hand typically hangs during chord voicings, and well above where his left hand lives. That's your cleaner air.

I was looking for information on Bethel's "One" ( which I've now found in other places)
I think Worship Online has over 750 tutorials, but not this one so I submitted a request for it. Their "requested" list has over 1,000 titles, some recent songs and some going back many years.

One Artist: Bethel Album: We Must Respond

I believe the first release of this song was January of 2025 so I took a look at worship online and didn't find it ..

you will find other songs with the word one in the name but not this one... another tutorial site called EG source didn't have it and I haven't yet found it on worship tutorials ....not sure about worship artistry.... There was a little coverage by churches or individuals that don't seem to have very much of a following ....perhaps it's because from what I can see the electric guitar parts are pretty basic and the only signature thing I hear is that intro riff .

I'm not thrilled with the last section of the chart from song select ...it has a number of little tag and repeat indicators that aren't super clear-cut to me..

of course the song was added to this week's list 3 hours before yesterday's rehearsal which doesn't help although I had played it once before a couple months ago.

https://preview.redd.it/vx3fidncojyg1.png?width=625&format=png&auto=webp&s=aa77143b47b8ed11193b533266227a454c56a395

How are most churches handling the bridge in Bethel's The Church. I hear a robust, vigorous electric guitar rhythm with mild dotted 8th delay...could be with some drive or not. Most versions I'm finding are quite restrained. The few with energy have the bridge driven by bass/drums with a big wash of vagueness behind that.