The Worship Keys Podcast
If you play piano, organ, synths, pads, or any keys instrument for worship ministry or the music industry, you are in the right place! Nashville-based worship keys player, Carson Bruce, interviews a variety of different musicians every week.
Whether you're a beginner or a seasoned pro, this is the podcast for you to learn and feel inspired to enhance both your technical playing skills and to also gain spiritual encouragement while being in a local church congregation.
New episodes release every Wednesday! Reach out directly to Carson on Instagram or email: carson@theworshipkeys.com.
The Worship Keys Podcast
How to Produce Stems for Worship in Logic Pro X with Josh Brown
Welcome Josh Brown, a renowned producer, songwriter, and musician. The discussion takes listeners through Josh's incredible musical journey, from starting out on drums to mastering the piano and creating multi-tracks for worship services. Josh shares insights on crafting stems from scratch in Logic Pro, emphasizing the importance of blending skill and anointing in church music. The episode includes a step-by-step tutorial on building a song from a blank template, aimed at helping church musicians and producers elevate their worship experience. See the link below to get the free worship stems of exactly what Josh builds out today, plus including drums, bass, and guitars.
Thanks for listening! Subscribe here to the podcast, as well as on YouTube and other social media platforms. If you have any questions or suggestions for who you want as a featured guest in the future or a topic you want to hear, email carson@theworshipkeys.com. New episodes release every Wednesday!
Welcome to the Worship Keys YouTube channel. My name is Carson Bruce, so glad you're here. We talk all things music theory, gear, industry and ministry for your worship keys playing. If this episode is beneficial for you or you have any questions as you continue to watch, feel free to comment below and I'd love to hear any feedback that you have along the way. So let's get into today's episode. So glad to be hanging out with Josh Brown. Welcome to the podcast, man. Thank you, man. Thank you. Glad to be here. Excited. Well, listen, guys, this guy's incredible producer, uh, songwriter, musician. I mean, you're, you're a drummer. I saw on your website that you really started out on drums. Yeah, I did. That's crazy. I did for a while. Actually until I became an adult, really, I think around, age 22 ish really is when I just completely stopped playing drums. When did you start learning piano? When I was a teenager. Okay. My grandfather needed help at church. And so I, I could pick it up a little bit, kind of, you know, already being a musician. Yeah. Um, so they put me in lessons with a lady named Charlotte Brown. Charlotte Brown was my organ teacher. Um, and that's kind of how I started to pick it up. That's awesome, man. Yeah. Well, if you clicked on this video because you wanted to know how to make stems from scratch, you might wanna just fast forward over this part. But if you really wanna learn more about Josh, which I hope you do, uh, stick around for another few minutes because, , I want people to know about you, man. Yeah, for sure. You've worked with a lot of different people, wide variety. Tell us a little bit about, who you work with locally and maybe some big stages you've been on with some artists that are for sure sign and labels. Tell us a little bit about yourself, man. In Birmingham I work with, , Kendra Meyer, who's actually now my fiance. So Congratulations, man. That's cool. Yeah. Thank you. Um, so her, um, guy named Jeremy Hill, guy named Harrell Williams. Oh, dude. His voice is incredible. Yeah. Harrell's great. So good. Jay, little Jay Lisa. Yeah. Yeah. Lisa. Yeah. Love Jay. Yeah, I did, uh, move me. I think that's the name of this. Well, oh, so you did such a great job with that man. Thank you. Thank you. Yeah, that's like my little sister. I love working with her. I also have worked with, uh, Lisa, no, Smith. Oh yeah. Um, so I did some music with her, um, a few years ago. She released a couple singles, um, that we did. We actually work at the same church now, so Oh, no way. That's pretty cool. Yeah. What church is that? Cornerstone. Cornerstone, full Gospel in, uh, Tuscaloosa, Alabama. Tuscaloosa. Yeah. So you an Alabama fan. Yeah. I mean, I think you kind of have to be, for the most part, you know, living in that area, so I work with her. I'm grateful to travel with, uh, Bishop William Murphy from time to time. That's awesome. Since I'm in Nashville, Ja Stone, um, she's been great and she's of course, on the secular side of things, but she's been a joy to travel with. I've done some dates here and there with, uh, Todd Delaney, crazy guy. Yeah, he's an, he's incredible great guy too. And, uh, Kathy Taylor, um, out of Texas, uh, she's a sweet lady. Um, and then from St. Louis, Missouri, uh, choir, actually a friend I grew up with Jesse Williams and Total Praise. So we just released their record. Last year, dude. Yeah. So amazing. That's been good. So good, bro. Yeah, man. So, so good. And you've worked with Katie Seals? Yes. KD Seals and Tela. Yeah. We did their record last year. Now you bringing more names back to my mind. We're gonna start missing people once we start. Yeah. If I missed it. I'm sorry. My uncle Oscar Williams Jr. He's at the Potter's House. He's one of their assistant pastors, I believe now. Oh, wow. I travel with him from time to time. So yeah. Been really, really kind. Yep. Praise God for that man. Well, we're thankful to have you here on the worship keys. Yeah. A lot of people are listening in. There are a lot of, they're keys players, they're church keys players for sure. Also producers. Many of them, maybe like yourself as well, some of them learning. They're in the early stages and today is gonna be a full blown tutorial on how to actually approach making stems. What are stems and how do you approach that when you go to make stems for a church service? I like to use or use the terminology like stems are help, like stems are help. They do not in no way take over for what Right, right, right. What's supposed to be being played by the live musicians or Yeah. Song by the live singers. But they can be very, very helpful and, upgrading that, that sound quality, you know, from, I started out at a church that was just the organ and drums. Yeah, yeah, yeah. And you know, now with us having stems, you go from organ and a drummer to bass player and a, uh, keys and s and you know, all of these different things. So at bare bones, I call stems the help. Yeah. Okay. Um, but I think when you create 'em from scratch, it gives you the opportunity to kind of expand your mind and, and your thinking and how you want to approach sections and things like that. So, so good. Yeah. It's endless possibilities. So, good. We're about to jump right into this tutorial here, but before I do, what's your main. Best advice that you have for keys players in general. I think we can become complacent at times. Yeah, true. You know, when we. Can play a song or we don't really have to practice as much. Mm. We can listen and learn on the way or on the fly. But you don't want to only rely on your gift. Right. Right. You wanna put some practical things behind it, some practice time. Absolutely. Having a gift is great, but you wanna be able to cultivate that, so. Right. I say never stop, learn and never stop. Growing music changes. The sound of music changes often over the time, over the years. And, you don't want to fall behind. Mm-hmm. You know, you don't want to sound like 20 years ago. Right, right, right. You know, um, and, and, and never keep growing. We are gonna get into this tutorial, I promise, guys. Yeah. But, uh, what's your keyboard of choice and what are some of the sound designs and things that you use both like in the studio and for live lifestyle? So, my keyboard of choice, uh, this is twofold. If I am doing a record where I'm really playing piano heavy or maybe piano and a pad, or just not a lot of heavy lifting, um, nor stage four. I love mine personally. Yeah, yeah. I'm kind of a gear head. In my RAC case, I have, rolling mks 20, uh, P three 30. I have a Motif classic rack and a Motif ES rack, and I also have a Phantom XR rack. Wow. Man. And I actually have a, S 90 Es that I keep tucked away from time to time. Phantom, the newer one, not the Es, but the one right before that. Okay. Uh, with the little red back on it. Gotcha. And a, uh, old montage six. If I'm in church and I need like some heavy lifting, give me that, that montage. MX eight. Yeah. Or M eight x. Oh yeah. Yeah. That's that where it is. Yeah. MX. I love it. As a keyboard player, I love rolling stuff, but I love Yamaha stuff too, so There you go. Each one of 'em has its own like thing. Um, but Right. And the hours at the church, we got. Everything you want in there, so I bet, yeah. Yeah. If it, if it's recording, production, you know, main piano kind of stuff, newer stage four. Right. If it is church heavy lifting, Yamaha Montage that, uh, MAM eight X. Yeah. That's awesome, man. Yeah, for sure. Today's, uh, gonna be a great episode because you're gonna kind of walk through a song from a blank template. You have logic up here. Yeah, yeah, yeah. Nothing in the track, nothing here. Nothing there yet. So you, it's like this is kind of what you do in your studio before you get to services, right? Mm-hmm. So like, you're creating your own thing from scratch. Say you heard a brand new song, there's not Multitracks Out, which nowadays they're pretty much always is multi-tracks. Yeah. From any big song, you know, but maybe you wrote a song at a church, uh, at your own church, and you want to like, make tracks on your own as the Keys players. The funny thing about that is, yeah, um, we were a few friends of mine. We were actually some of the first people that started doing gospel multi-tracks with, uh, John Mike. Oh, no way, man. Yeah. Oh, that's cool. And there's some very old photos. Um, from those first few nights of us doing, yeah. Stems, recordings. And so for it to blow up to how it has now is just kind of crazy. But I think being able to do it at home now with the access that everybody has is, yeah, you can't match it, you know, and again, you get to be a little bit creative, so, well, let's get into it, man. Sweet. Let's do it. All right. So here we go. We're building s you're gonna do a oldie but goodie, like what I like to call 'em, chasing After You. It's a couple versions out there. Uh, I think Tasha Cobbs, uh, VHA Mitchell, full Gospel has one. So it's a bunch of versions, but, um, I'm gonna give you guys a bit of how I would approach it, um, going into just building it, building it out. Um, so let's grab a loop. Shout out to, my different friends that give me all of these different drum loops. Um, so I'll come over here. That's one. Let's go with, let's go with that one. Dropping this drum loop in. Once we're here, what I'll do next is find the tempo BPM counter, um, here in logic. So it's coming up as 80, but double time. That's one 60. So we'll go ahead and do that. Change the tempo here. Now we should be on the grid. Let's see. Turn on my loop. Sweet. Let's figure out an intro. So I think that's the original intro. Let's just do something different. Um, um, yeah, let's try it. I'm using the MKS sensation, MK sensation. The S seven X grand. So I'm a drummer by trade or you know, when I started. So I'm a, I like to kind of do things a little bit off and on the, tempo or count wise. So let's try it. Two ready and. Uh, more and more in the chorus. I am chasing. Uh, wow. So I didn't expect to play that much of it, but uh, that's where we are. That takes us all the way back to the top with the verse. So let's just kind of see what we got. 1, 2, 3, 4. Yep. So what we'll do is actually play it nudges just a bit, so that way when we start the verse, it'll start with that. Go with the kick. Three, four. One, two. Ready and sweet. Let's go back. So while I'm doing this, I'm building also what's called markers. So that way I know where I am in this song. So I'll go here, add my marker, intro. Intro come a little bit further. Verse first. I like to add my little bells and stuff first, and then kind of go back and add my synth as well, just so I know where my heavy hits are. I hit, um, command D, duplicate outta track. And so I'm gonna go here and I'm gonna actually give you guys what, um, I would call like my sec, my secret sauce a little bit. Um, it's like these big bells, these two lar bells. Yeah, the big church be. I'll add those in different spots. You'll kind of see how it brings it out. It's kind of crazy. Three, four chorus. Right? So catch some of those specials. yep. So I'm just taking you guys up through right now till we get back to. The verse. I know I'm moving a little fast, mind you, I'm feeling this through as I'm going. There was nothing planned already. This is just kind of, if I'm thinking about what I want to do on a Sunday morning, um, how I want to kind of do some things and add my own little flavor to it, this is typically how I would go about it. I'm gonna actually make a slight adjustment. I want to do something slightly different. Um, I want to tweak my loop just a little bit. I liked the loop when it, it kind of gave the county in, um, leading there. Or with the click, with the kick, I'm sorry, on the downbeat. So I'm just gonna come here, make a quick edit, give myself those four bars again. So I'm just dragging this over. Tracking that over bringing this back out. Let's see if this adjustment. Is it 1, 2, 3, 4? Yep. So we can take the same little section here. 'cause we don't want this kick to throw off what we're playing, um, in some of these other sections rhythm wise. So, and yep. So you see that little adjustment kind of changed the vibe right there? Um, not much, but it just gave you a little space to maneuver a little bit differently. Let's add a second bill, for the lines and stuff. This patch I'm using I got it from a friend. Some bells that I like. It's called nice bells too. Um, so I'm gonna let you guys kind of see how this plays out. You want to build it out to where it feels good, and then you wanna make a, you can tweak your, you know, and tweak and make some adjustments, um, till you get it exactly how you want it to be. Here we go. So let's, let's keep building out this, um, this here with the, intro. I'm gonna take this part, get it real nice and heavy, kind of how I would approach it all. So just grabbing more sounds, um, that I normally go to. I love that one. That was pretty sweet. Let's see which one we go with. Let's see what we got. Let, let keep going. All right, so I kind of got that, that with the center made me, you know, realize, ah, I might wanna change a quarter two. So let's go back and get this piano. Play it for Keeps this time. All right, here we go. So if you listen, what I did, at first I was playing, but. On the synth I played, I just raised that f up to that F sharp, kind of gave it a suco kind of vibe. Uh, yep. That's what we want. So what I like to do is add like a little, like a little pat kind of to lead us in. Um, you can kind of choose some of anything, man. So many go from, especially with logic. I don't know if I want the abyss pad that don't sound like Jesus, uh, shimmering pad. That's cool. Mm. Let's go. Yeah. There we go. Love it. Yeah, there we go is cooking with grease now, as my grandpa would say. And again, so here is what I'll do here is give us a, give us a little lead line. Hmm. I should have played that for the intro. Here we go. So let's see what we got. Yep. Ah, one more. One more. I got a better one. All right. It is the one here. I'm gonna give you guys a cheat code. So another thing you could do is, for sake of some color, right, let's add a keyboard. Yeah. A little rose in there, man. Never hurts anybody. Little robes never hurts. Never. Yeah. There's one note in here that's sticking out and I don't know which piano or on, so gotta check that real quick. Let's listen all the chords. So the cool thing about midi, you can go and change it something needs to be tweaked a little bit, go in here, check the cord, that's what that is. Let's see, what am I playing here? Oh, it's that sweet. Here's the real secret stuff. All right, so I go into my splice and I kind of get these effects, right? So get that, pull this in the very top. Give us a little bit of, so all of this stuff, right? So we'll go to, all right. It's two things I'm gonna add. I'm gonna add this here. There is like this boom that I really like. It's kind of, it's kind of extra, but you know, it's cool. It's this. That's, it kind of sound like a movie. It's kind of crazy. So going into it, um, bring that, put that on the grid there. Yep. Last thing I would do is I use these like chimes, use 'em at the top, um, and going into like the next section. So let's do that so that way we can get something. Going into this last section here, going back into the verse. Here we go. So what those chimes do, it just kind of sustains into the verse. Um, all of these sounds like everything there is or is this, we had 11 tracks right now. Um, of course we'd have probably playing live piano. So let's just say we had 10, with the loot. So it's cool. Let's go through, let you know, do a little cleanup and then we'll, um, let you guys hear, you know, very polished sound. Yep. Fix this piano. Sweet. All right, I think we got it. Last thing we'll add just for, learning's sake, we'll add a little key base, this way. Um, when you're sending it out to your team, your guys, they're not looking for what to play. You kind of already covered that part as well. Um, so let's see. Add a little key base here, Jess. Let's see. Let's try that. We are not keeping it, but you know, it feels good for now. So I like to play it as if I was playing bass, like kind of how I want 'em to, you know, move in between and stuff like that. So I think we can move on. So now we're in a verse chorus. Okay, cool. Make your marker. Keep going. All right. So first thing we'll do is bring in syn, yep. So we don't have to play the bottom part. The, the key, you know, the, we just wanna make sure we, right. Here we go. And we going out. We'll keep going, but for now, I just wanna grab this here. Make sure we get those first couple. Here's another tip. Don't be afraid to quantize it. Fix it. You know, nobody's judging you. I, I mean, we're human, so nobody has perfect tempo, but definitely if you got some spots in here you want to tweak or you want to make sure, they're nailed down, definitely go ahead and quantize it. I'm gonna do this here. Actually mute it. Boom. Highlight quantize. Let's see. All right, so not all the way, right? It's not all the way what we want, but we can go in, kind of tweak these. Some of them bump, bump, you know? Right? Cool. So let's keep building. Cool. Thing about that is you can take that and drag it now. Now you've done the roads. Don't tell nobody I gave y'all the trick. There you go. Shall we come down to the lead? Just ask him. Right. Okay. So again, like we did earlier, just take this, the fixed one, boom. Drag it up. So we go into the chorus. Same thing with the bells. You just kind of accenting the spots. Exiting the spots. Here we go. I am chasing after you no matter what I have to do. I, You'll hear that from time to time. That's just my little shimmer. Uh, uh, kind of give you, uh, uh, a bit that we, we moving, moving on, we kind of doing something else. But yeah, so, um, and if you notice like earlier, I kind of use my bells twofold. I use what I would call like a small bell and a big be. Um, so that's the small be. And then the big bell is like the tuber bell. Um, if you listen to Todd Delaney, , at all, he does this a lot in his songs. We love to call your name, you know, all of those huge bills. I get that a lot from them. Those guys are great with that. So just in between. Yep. So I had already played it right there, so no need for that. Another one I like is the symbol swell kind of vibe. It's kind of a wash transition type thing, so I like that as well. Sometimes if you don't just want to use a chime all the time, you want to kind of change up the vibe. So you gotta be careful with your quantizing because, um, what'll happen is you will take away, like all the cool stuff, like all the tris and stuff you play. You don't wanna lose that. Uh, that's special to what you playing. All of that kind of cool stuff. When you're playing stuff specifically, you want to make sure like it is spot on. So all of that stuff should match, right? So let's listen. Right? So you hear that, that, right? It's a little. Little tricky, right? So cool. We just gotta make sure we get this other little half of this portion of the song, boom. And we should be able to go from there. Make sure you don't take away the cool stuff, right? So that's they saying, yep. Ooh, hot. But I love it. That's that shimmer. All right, Kibes, like this key base sound, it's kind of, different, but I'm using it because I want to make sure the bass player can hear what we're doing. You know, I don't want 'em to have to guess around, what am I playing on? Keys or whatever like that. He can hear it and it's distinct. If I was doing this as a record, then no, I would not use that patch. But for sake of learning and things like that, it makes perfect sense. All right. So let's, let's hit this chorus. Yep. We almost there anyway, just to pat the Yep. Bras. So, yeah. Sweet. So gotta make a couple little adjustments to this piano, I think. But again, cool thing is drag it. I mean you can play everything over, but it's midi. Why do that to yourself? Boom. So now again, we got rows in there. Yep. But you know what? I think I'm gonna play the road anyway just 'cause I want to. So let me get that. Here we go. That's two four, uh, 2 4, 2 7. Yep. So, I mean, you just taking, and I think I played the same thing, a variation of that later. You just kind of adding little spontaneous moments to make it, come out instead of, oh, ram more, more, ram more. Right? So we back into the, uh, verse, right? So let's make sure this piano lines up, tweak that, get it in. Keep going. Yep. And you know, as you playing, you make mistakes. You gotta keep going. So again, it's slightly different, but, um, just giving you something to go out on, right? Sweet. I love it. Boom. Back into the verse. Got all of those moments, capture the bills. Yeah man, we getting there, and let's not forget these little swell pads we got up here at the top. I love these things as well. Cool thing is when you know you're gonna play it in a kind of a lead in type spot, you can just kind of copy and paste it there, right? So boom, I like to paste mine, like, um, uh, play 'em like a, I would say, a bar out. Something like that kind of give you a little leeway. Okay. So got those. Add the key bass. So on the normal song, the key basses or the bass is doing, I don't wanna play that today. When we get there, I'll kind of teach 'em the rhythm, but actually I think I'm just gonna switch the patch. Here we go. Five, five. Instead of playing seven, I'm gonna do five. So instead of me doing that, I'm just going to drag it. Yep. Drag it now. So let's go into the chorus after the verse. Here we go. Hit it with a little quantize. Go. There we go. Should we get to go now? All right, here's another little thing I learned from, it's kind of like a little Aron Lewis trick when you're gonna do, um, some specials. Cut the loop. So this is what that special sounds like with the loop. This is what it sounds like without the loop, it kind of brings the special out a little bit. Plus, you add this wash kind of gives it a crazy vibe. Right. So going back into the top of the verse, out of the chorus. Yeah. Man, if you really wanna go crazy, you put the little boom back in there. Shock everybody. They gonna be at church. Like, what is going on? Yeah. That's what's going on. Yeah man. These are just little FX things. Um. Um, again, like I worked with Josh Stone, so doing a different kind of show at a different level. I had never done arenas and such. They started putting these different things in the shows and I'm like, I ain't never heard that before. Started sounding like movies and stuff like that. So I was like, man, I think that would be dope to use at church. So here we are, right? In the chorus. Okay, perfect. Here we go. The special. Yeah, buddy. That's good, man. This song is repetitive. If we going back to the verse, you know what I would suggest coming into this earlier part, boom. Reverse. Just grab all the stuff you need. So get all this stuff highlighted. Boom. Copy paste. We should be good, but if we gotta make adjustment, we can, right? And again, where are we going? Back to the chorus. So let's make life easy on ourselves, right? Boom. Now what we can do. So once we get all this to, I'll shoot you guys shortly. So you come over here, do this. So this is what you do. Make the little adjustments, and then you add your transitions and stuff like that. It'll give you the same feel. Don't have to overwork yourself. So let's change up some of this in the second chorus. Because we going to the vamp, right? I'm trying. Let's tweak it that way. They know we going somewhere else. That's how I like to do music. I like, I love to put little cues and little things in. So it's like, oh, that's different. It must be going somewhere different. We are. So we going, I am my way through. Yeah. Rashan, that'll pretty much be the it or be the thing. So, uh, shout out to Rashan Mitchell. I'm gonna just go ahead and layer it, draw it to the layers. Because I don't, I want to kind of keep that low end open, I hope y'all feel the vibe. All right, here we go. Yeah, that's got a little stink on it. Oh yeah. All right, so here we go. Just adding these little bells and things. So again, these bells are just here to give you a little bit of extra push. And some spots, right? And those bell are loud and strong, so you play the wrong thing. It'll be loud. Yeah, that's, that's good. All right. So grab this small bell. Yep. Make sure I'm only doing one bell. And what this be does is when you get, when you send it to your guitar player, whatever, they can hear the line that they, that you want them to play. The thing that makes music a little bit bigger is when everybody's playing their own part. So sometimes you'll want them to play exactly what the keyboard is playing. Sometimes you don't want them to harmonize it. So for this example, you harmonize a bit, a little bit. So this is Vamped. Let me have my little marker there. And again, guys, we're only, this song is like two minutes right now. Of course, I'm sure at your church you'll go back and do some, different things and drive some parts and stuff like that, but for sake of time I'm gonna narrow this song down. Some when you, um, copy and paste stuff. , still gotta be aware of what you're doing, make sure you do it correctly. So I want to make sure I add these. Um, yeah, we haven't used the chimes in a while, so let's add that there along with this little transition. Actually, here we go. I got another one that I really like. Here's a little bit of a, another secret sauce thing I do. Um, I like, like I said, I like the whole movie aspect and fx, so sometimes I go through and just add different ones. Now mind you, if your church doesn't run things stereo, this one is not gonna make sense to you guys, but hopefully you do. And so when you pair it with this chime here, kind of get a really cool effect. There it goes. It goes here. Sweet. Yeah. One more. There is, there she goes. So this one I really enjoy, doing things, kind of gives me a dear friend take on it. Um, you guys can hear it. It's called a PE swell. So that's pretty cool. So another thing you may want to do is. With this key, with this piano bass, like trace thing I'm doing here. You may want to, drop it at octave. So it's D sharp. Come down, drop it all the way, drop it down a whole octave. That way it's really base heavy. Keep, and actually, while I'm here, let me, make sure. Yep. That's where we want to go. Right back into it. Just need to fix that on this bill. And so this is where we'll run it. I'm chase you, right? Boom. So right in here, we'll do run, revamp, run. Yep. So there you same chords. Just to be close to you. I'm chasing live now and we'll do the hit on just to be closer right here. And so do you. I'm chase we out and more last time. Right. So we can even retard it a little bit. Just so, and if you don't know what retard it means, it means to slow it down. It's a musical term so and more. Yeah. So that way it feels the way it's supposed to as you guys are ending the song. Well, we still did four minutes. So, so only difference is what we'll do to see in this section. All right. So that's when we come out back to that chorus. Something you'll see that we would not do is when we first come out of this chorus here, there's no need for us to have a, like the big sin, right? We coming out of the big chorus. Yep. So you can do that. Just trying to make it a little bit cleaner. And right now I'm just command Jay, um, join in Logic. It's a, nice little shortcut, right? So let's add this bill here. live just to, so I just fixed this one just to be close, sir. I play that one on the up. And when you're arranging, always think about the vocals. What are they singing? 'cause that those can be little hits and little tricks and stuff you can do with them. I'm chasing the line last time. Of course it'll sustain and all of that good stuff. Real good worship ending something else I would even suggest. So this right here, this loop is just everything in one. Everything's in one loop, but if you create loops from home, I would even suggest you breaking the loop down at that portion, um, to just maybe a shaker. Um, let's see, just in this chorus. Cool thing. Logic has, um, loops. Let's go with, let's try to find something simple. No, no, that's too much. Actually, this isn't terrible for sake of us just looking for, for a loop. Cut that up until we get there. Soon we come out of it. And then what you do is, again, you got your chimes here and that's what's going to bridge it all together and kind of make it make sense. Um, or they had a wash transition here, so we got Yeah, that makes perfect sense there. I love that. Back to the big bell. Let me take this and actually put it where it's supposed to go. Yep. There we go. Bop pop, pop we going out. Yeah. That change of the loop brings it all the way back. So even when you take the loop out again, it, it would be extended. You get the picture. Um, that loop change really. Changes of everything right there is kind of crazy. And so what we can do is just, it'll, it'll ring. We just gotta, gotta make it make sense. So for this actually, boom, again, here is the, the help in using, um, midi. With MIDI you can easily just do this, right? So we want to extend it some more. Let's extend it a little bit more. So extended two bars are for the most part, yep. So right cut off. So yeah, that's pretty much how you can do that. So we gotta run the whole vamp and then go out on the Q base, right? And so when you notice, when we do the run, we will not trace the, uh, low end piano. We won't do that anymore. 'cause it kind of already have served its purpose live. And oh, you know what, on the keys, I did play something slightly different there. I went down instead of 7 1 4, I did 7 6 4. Yep. So make sure I catch that right It'll probably be good just to bring it down some, you can see if it's velocity tool. I'm just bringing it down some so it's still present, just not as loud. We just going through adding, make sure our little effects and stuff are where we want 'em to be. Um, I'm not sure that I didn't put that where it was supposed to go. Okay, cool. Vamp run. Yeah, this little, I call it actually, I call it the hot breath. That's what I call that sound. I feel like it's kind of like somebody doing ha so I call it sound hot breath. Yep. That add this little here. Again, add that little wash. It's kind of like a symbol swell type vibe. Um, and you may not need it once your drummer's playing, but for sake of what we're doing now, it kind of really, really helps. So last thing is just simply, and we're good. Yeah. Forgot all about all of that. Yeah, old school. Everybody play this line. I am. Jay, back to the line and we going out. So again, you play that first one on the downbeat. I keep forgetting everything else. Been on the up. So that's on the down and special, I am afraid. Here we go. Hit just two big. Sweet. One last piece I'm going to add. So this is a worship keys, channel. So, I mean, hopefully by now somebody's mentioned a drone pad. Uh, um, but during this little section here, I think that would be ideal. Just kind of like a analog, just a something there, There we go. That's one. I think I, And then at that little sweet pad back in here to help when we going out of the song and then one more here. Yeah. Facebook. And one more wash. Just to end the record. Mm-hmm. Little bit. One of these. Let's just see how that feels. So I'm gonna actually bring one of these nodes down. That one, yeah, it is just kind of living underneath it. Very last thing is I am going to just add, to make it kind of make a little sense. I'm going to put like a fade on the track. So as you're listening to it, it'll make a little bit more sense as to kind of how it'll fade out. All right. Let's just do that for here. All right. Yep. And I can extend it so that way it's just not a random stop, right? Sorry guys. That's the producer in me. In church, let's, we gotta be realistic. So a lot of the times, there is this loop kind of gets you the four bar county in right, add the little sweet pad and stuff. Yeah, perfect. That, that pretty much does everything you wanted it to do. We'll make adjustments throughout. So earlier we talked about, taking the loop out. Perfect. Perfect spot. Perfect spot to take the loop out. Yeah. You know what, gimme these two bars too. Gimme that one. Yeah, let's take that one. Keep, let's see. I am chasing there. Are you? Yeah. Yeah. We back in the verse. I just had an idea. Sorry. This is wearing me out right now. I love it. again, you got chance you can do this at home. You building what you want instead of just, so it'll kind of give it a little bit of a, slight change right there. And all you doing is just taking these little spots here, right? Shortening it up. 'cause what I'm going to do is just slightly play right over it. And I'm deleting, but I'm DeLeT. Sounds like Mario or something like that. So that's it. That's literally the whole little idea. So it's clean it don't need that note. Just do the same thing here. So sometimes you'll have to, there are times you'll actually have to take it and delete the spot just because what you're doing is with the midi it'll kind of do weird stuff like that. Yep. I love it. And this is just the stuff that makes, you know, creating fun. There we go. Now add keybase, yep. I like it. So earlier I said, sometimes you gotta delete the whole little part. So that's what I mean. Like in this little section that simply something was already there, so it's kind of trying to feed off of that. So you just need to tweak it. Yep. Sweet. Let's listen back from top real this time. Okay. Here we go. I think those are all the changes we making. Here we go. I told one story. Definitely want to add this to the top of the song. Again without a drummer. This kind of stuff just makes more sense. Mm-hmm. I am chasing after you. Yeah. Damn. Yeah, going out. Chorus all the way up just to be closer to you. And run to I am. Hey, last time. So, yeah, that, that's pretty much it in a nutshell. Like I said, you can take and maneuver with, we are giving a little bit more time through the week. You definitely clean this stuff up. Some, um, kind of tweak it a little bit more, fine tune some spots. But generally that's what I would do. Um, that's how I would approach a session for church, for worship. Um, even just kind of arranging a song. I take the same process, you know, build, kind of get an idea on piano. Sometimes I go key bass, sometimes I do the synth stuff. It just kind of depends on, if I like how well I know the song or how well I can think through it. If I need to play key bass first, then I will, from there, you know, synth, bells and whistles and, I showed y'all a lot of my secret sauce down at the bottom with my, with my effects and stuff like that. Yeah, man, get a good loop in there. Get the tempo, and then even as you can see, kind of create your markers, things like that. I had a great time doing this. I actually may need to use this for real. So I'm excited, man. It was great. Alright guys, I hope you enjoyed it today, Josh Brown. Thanks again for being on the podcast, man. Man, thank you. I've enjoyed it. It's been killer. Any last words that you have to worship? Keys, community producers as a whole, church musicians, anything you'd like to leave them with today? Give God everything that you have. Last year he revealed something to me about being both skilled and anointed. When Saul was dealing with the, um, the, the demons and the things that he had going on, he actually didn't ask for an anointed musician. Wow. He asked for a skilled musician. Wow. Yeah. Um, crazy. And so when you really think about that, and we always talk about how anointed David was and how he could play spirits out. It wasn't just that he was anointed, he was also skilled. Right. Play skillfully. So, yeah. Yeah. So be both and be both skilled and anointed.