Worship Keys Sound Design & Balancing Tour Life/Ministry with Spooky Scott of Red Rocks

Join Spooky Scott from Red Rocks Worship at the Worship Keys Podcast. Spooky share about life on the road, leading worship, and all the gear and tech that makes it happen. He dives into how he uses the Nord Stage 3 for sound design, how Red Rocks stays unified across campuses with tools like Resi, and what it really looks like to balance touring with serving at church. He also shares some behind-the-scenes moments from their latest album, The King Is Coming. If you're a keys player or just love hearing how worship and music come together behind the scenes, this one’s worth your time.

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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. Super excited to have Spooky Scott of Red Rocks Worship. Red Rocks Church. Spooky, welcome back to the podcast, man. Thank you so much, man. It's so good to be back on this podcast. I can't believe it. So you were on episode 29 last year? Yes, sir. And now we have like over 70 episodes, man. Congrats. Thank you so much. Yeah, you're doing. Such a good job with the platform, man. I love it. Thank you, bro. Yeah, thank you. And it's, it's because of you and others who have taken the time to say, Hey, you know what, let me give back to the Worship Keys community, help other church keys players. And I know there's a lot of professionals checking out the episodes too. And, a lot of keys players who are pros just playing on the side and working another job during the week that love, to listen in and get advice. So, yeah. Spooky, we're so glad to have you back. If you wanna know how he got his first, how he got his nickname, spooky, spooky, Scott. Scott's being your first name. Yep. You need to take out that first episode in episode 29, but it's Alter Ego. Yep. And dude, this guy used to be a dj, a remixer. I mean, I know you still do your own studio stuff too, and some sound design stuff. A little bit. Yeah, yeah, yeah. But this guy, many, many talents. And so we're actually at Red Rocks Church right now in the studio space. A fraction of the studio space. Yep. And the fraction. Yeah. If you've ever been here to Red Rocks Church in Littleton. Colorado, close to Denver here. It's just a beautiful church, beautiful space. And how long have you been on staff here? Spooky, officially staff is 20, 21. Okay. August. So, uh, almost four years now. Full-time contract MD since 2018. So yeah. Awesome. Like three years before then? Yeah. Okay. Okay. Awesome man. So it's been a little bit of a time. Yeah. Got a little bit of, a little bit of a tenure. Got the flow, got the rhythm going on for sure. Yeah. Super excited. So guys, thank y'all for watching this video so far. Just to let you guys know where we're going with this episode, we're gonna be talking about sound design. We got this north stage three right here. I know you guys are all about gear sometimes and it definitely matters what you're using. But the North stage three beautiful keyboard, and you've updated some patches recently. Yes. And we're definitely gonna hear those. So standby for those also. Secondly. Maybe you're at a church that you guys also do your own writing and you've thought about touring. Maybe you are touring right now and you want to kind of see inside someone's thought process of how do you balance working at a church, but also being the keys player on tour for the band that goes on tour. Because Red Rock's Worship, many of you know them. Some of you maybe not, but they just had an amazing album released this past year and they went on tour with it recently. And we definitely wanna talk about touring world, how to balance between your church job, church duties, being plugged into the local body, which you should be, and then the whole industry side of things. Mm-hmm. And it was fun seeing you guys at the album release in Nashville. Yeah. It was good to have you there, man. Glad you guys came on down south. And, yeah, a lot of great collaborative things going on with the label and all kind of producers, mixers, you know, master engineers. By the way, shout out to Joel Yep. For making this possible today. Yeah. Um, he's incredible production. What's his official title here at Red Rocks? Well he basically is in, in charge of all production at the Littleton campus. Okay. Um, but he also does a lot of other stuff. He's kind of helping organize everything. He's helping organize planning Center, which is. A job for sure. Right. And also organizing backstage. And he's done so much work. He like, it's everywhere I go backstage now is clean and he's just done such a good job keeping everything organized, so That's awesome. He's trying to do that at every campus as well, he does a lot. But yeah, shout out to all production here. I see him working so hard and just so diligent from, so shout out to everyone who works behind the scenes. Yeah. Make sure to treat your production people well. Thankful for Joel. Yeah. I know you are. When we walked in today, he was cleaning the haze machines. Is that right? Yeah. I'm sure you guys use like the heavy duty haze machines here. Oh yeah, we do. And we walked backstage and you, you can see like 10 feet in front of you almost. It was so foggy and it smelled like pure vinegar, but Right, right, right. Hey man, whatever you gotta do to, you know, keep those foggy machines clean. Just thought he does that pretty regularly too. I just thought it was like, anytime you enter backstage it's immediately foggy. 'cause you're like, this ghosty spooky scot, so, oh no, it's, yeah, it just follows me. The mist follows me everywhere I go. Speaking of the mist, if you're watching on YouTube, you can probably see in the background of, of your head, it's like this beautiful sunset of a, of a bloom that this light in the background is just beautiful. And I just love the setup today. Like I love this studio space. Anyway, guys, it's pretty Frankenstein together, but we actually made it work really well, so. Yeah. Yeah. I was like, I wonder how it's gonna look, but hey, it's gonna be good. Yeah. Um, but guys, let's open up with your sound design. Yeah. And then in the episode with your touring world, church world, how you're balancing that. But. I just wanna hear some good, some good key stuff I'm gonna put on these headphones. Yeah. Which good quality headphones, by the way. Yeah, man. This is what y'all are using for over overdub stuff here. Uh, yeah, because this was like connected to the vocal stand over here. Yep. Um, what is it? The DT 77 or seven? Seven zero. The Bear Dynamics. Right? The Bear Dynamics, yeah. Take 'em out. I'm about to put 'em on so I can hear you play keys, so take us a little bit about past years of sound design. Yeah. What all you use. We do not have your full keys rig up here in the studio. Yep. It's currently being covered as there's work and the, everything's being done on stage right now. But take us through your whole rig, your normal rig for church versus touring. Yeah. Versus your flow here, what you did for past patches and what you're using now. Absolutely. So when I first started playing at Red Rocks, we actually, I started playing with just kinda like a grand piano patch and a, and a pad that was actually all stuck on the Nord. And I used that for a little bit. Even on the, I think like this Spark album, which we recorded in 2018, I used that patch, which I don't even have on here anymore. Then shortly after that, that's when like the trends started happening where people liked the mellow and the felts. Right, right. You know, that started coming out, you know, 20, 19, 20 and, and still is a growing trend, I would say. So me and kory sat down and we're like, let's find something like a little bit more mellow. So we found the mellow upright, which, actually I still have that story right here. And kory's one of the main, vocalists. Yes, sir. And songwriters, is he one of the main songwriters or Yeah, yeah. He's one of our main songwriters. Wonderful. And he tours with us with Red Rock's Worship, so. Awesome. Should preface that, shout out to kory. Yeah. Um, so I still have that patch actually on here. Um, we just use the mellow upright from Nord. Um, and then for a pad, I always have a pad running when I'm playing basically. And we use the Majestic pad shimmer, which is like the, the dark version of it. He has different, like, filtered versions of it. And his name is Anthony. Well, I can never remember his last name. It starts with a C. If you search Anthony C on Multitracks, you can find, uh, his stuff. He makes, patches for Nords, main stage, a lot of stuff. But we, I love his majestic pad shimmer. I'll start with just the shimmer pad. Fully open filter. So this is what it sounds like. Yeah, it's pretty, it's pretty. It's beautiful. And that's just like a, that's his dark shimmer. So like, yeah. Okay. Um, I do run a filter, a, a low pass 24 filter, and I keep it about halfway, so it's pretty warm. But sometimes on a, you know, first course of the song, you wanna like, like open up the, like the first course, like the drums will drop out and it just kinda lifts the song and you wanna bring in a little bit more shimmer. You can bring that in anyways, so. So I gotta stop you right there too. Yeah. I know you're in the flow. Absolutely. But I just wanna let those of you who've been tracking along this whole year, even since last year too, with so many pro keys players like yourself, spooky, that the filter knob is. Crucial. Crucial. We did an Ox Keys thing. We did an episode with Evan from Belonging Co. Everyone talks about how crucial it is to have a filter up, to be able to roll off what you need to as far as the, you know, low pass, high pass. Yeah. Um, and to roll, you know, you know, open it up. Yeah. And if, if you're not using that yet, find a way through the Nord. Yeah. Programming it to Ableton or main stage or whatever, such a huge thing to increase your dynamics, not just switching to different patches or things in the middle of the song, just literally opening up the LFO Anyway. Yeah, keep going bro. No, that's great. That's such a good word. Yeah, so that's, we actually still use that pad on the current patch that we use. It's still a pad that I love and it has some like subtle movement to it, so it's not just like static, you know? So that's really good. This is what we used to use is the mellow upright, and if I turn the pad off, you'll can hear it. Um. So it's kind of, yeah, it's, it's a nice just mellow upright vibe. With the pad going, it kind of sounds, you know, it fills it up a little bit more. Um, yeah. So it kind of just sustains. Yeah. Whatever you're playing. Anyways, so we use that for the longest time because we were like, yeah, mellow is the new in. And then, a recent conversation I. Happened with our sound guy at the Littleton campus. He's like, Hey man, what's the thought process behind using Upright for like everything? I'm like, everything. There wasn't really a thought process. Me and kory were like, cool. And then we stuck with it and you know, and it was actually before he even asked this question, our sound guy, Andrew, love you, man, you're awesome. He asked me that question, but before that even happened, I was kind of already like in like feeling in my mind and heart that like, I'm like, you know what? I'm, I love it, but when we're playing stuff like goodbye yesterday, it's not really like giving me the punch that I want. So, right, right. Um, so that's why I'm like, okay, well there's a way to do both even on the Nor it's great. So that's why we came up with this one, you can't see it, but basically we use, instead of the mellow upright, we use the Royal Grand 3D, which is like. Staple Nord Grand sound like it's just probably their best in my opinion. So we're using that. But you can use effects. You can affect it in a way that it can still give it that mellow feeling. You know, especially for Red Rocks, we do a lot of like 70 BPM, slower moodier songs. So we still want that like more mellow kind of feeling in the piano. So what I'll actually use is I have the EQ is on and on the Nord stage three, we have bass, you know, mid and treble. And treble. I'll bring down to about negative 12 ish, mid, probably negative seven ish. And it gives it a little bit more actually here, let me first show you. What it is, like just full sound. So just your classic grand, really good, strong, you know, low end. And when you're playing stuff, play, play that first chorus of goodbye yesterday. Just, just because I love that little part. Dumb that one. Yeah. Yeah. Oops. There it is. Maybe a little less reverb on there too. But yeah, so it just gives it the punchier, you know? Right. You need that for those kind of songs. For sure. When you're playing that with a mellow upright, it's like a me me, it's hard to explain, but yeah, it's not, it just doesn't give it the oomph it needs. So that's what it sounds like right now. And we use that for a lot of our opener songs. But then starting on song two, especially at Red Rocks, we just do a lot of more moodier stuff. Maybe end with high song, but I'll bring the treble down, negative 12, mid to about negative seven, and now it gives it like kind of a. Maybe pull, revert back up so it mellows it out a little bit more, which is really nice. And you can just be constantly changing that on the fly. So even if there is like a song that starts with mellow, but it kind of builds up and then by the end it's just like, you know, lots of energy. You can slowly throughout the song bring in these Z cues, which just give it, you know, that more punchiness. Another one that I love is, I actually even more so than that, that's like, I've just started using that when I started this patch, but I still find myself like going back to using the, uh, timber in like the timber. Button on the piano part. Instead of having to do all that, it has three timbers, which is, uh, is that how you say it? Timber? I think it's Timur. Timur, bro. I, I know myself. I promise. Or Timber by Kesha. I promise. I. That's funny. Uh, I promise I know my stuff. No, you're good. You're good. Anyways, there's three tams. Gosh. That's funny. There's soft, mid, bright, and you can also just have it off. This is off right now. Um, but it, putting it on soft immediately just gives it that like soft, which I actually kinda like that even. I like the way that sounds even better than using the eq. So it just depends what I'm using. But, um, one issue that a lot of people run into is like, well, when they need to go back up again, they'll like play and then they have to press this button three times and then it goes through different EQs and you can hear it switching. Right? Right. But there's one way you can get past that is like, if you start with this patch and you don't change anything else, you know, you're starting no timur on it, and then you press it once. To pull the soft in, then you have that, and then if you just press your preset again, it automatically goes back to what it was before while still sustaining it. So you don't have to like cycle through those tams, which is nice. So that's great. I've been finding myself doing that a lot. The very last thing about this patch is that, sometimes you do have a song that's just like very, like, you just want that felt throughout the whole thing. Like that felt, feel the mellow, and maybe the Royal Grand 3D is not quite doing it for you. What I have is I actually, I can bring down the piano and then I have on panel BI have the felt upright, um, which is a new, it's a newer, uh. Uh, piano from, uh, Nord itself, and it's, it's pretty good. I like it. So I have that on panel B, but the volume is all the way down. So you can go over to panel B and turn it up to bring in that felt. Um, or what I've done is I've actually, I just have it set to panel A all the time. So the Royal Grand 3D is the main volume knob on the piano, but I have on the modulation wheel, I have that set to the volume of the piano on panel B, if that makes sense. Yeah, yeah, yeah, yeah. So you don't have to switch between panels. You can bring down the royal grand and then just bring in with the mod wheel, the felt. I love that. Y'all need to take that, that tip right there. That's pretty cool. Yeah. Anyways, I'll use that for like certain songs that just need that, you know, it's, if it's a little bit more indie feeling or something like that. If that makes sense. But yeah, so that's kinda like an overview of what I have going on here, but yeah. Super cool. So first of all, I said this last time too, but I love that there's gaffe tape on the far left over there. So you can put your phone or iPad, tablet and it's just basically a little stopper for any device that you wanna put there. Yeah, it's literally just a pin in there. Oh, it's just a pin. Okay. We put a pin at the base, kind of like at the bottom of where that like panel is and then just gaff taped over it and innovative. Yeah, it just, I don't know if you can see it, but it just keeps the phone right there and then it doesn't, keeps sliding off. And I use the phone, uh, because we use the Yamaha QL for our in ears mix. So we use the Yamaha Monitor mix. And I constantly, as an MD I'm constantly needing to like change who I have, in my ears, especially with singers, depending on who's leading what song. So it's an easier way to just change the mix on the fly and for sure that keeps it from falling off. But yeah. Very innovative. And I lo I think last episode we talked a lot about, hey, what is your, what is your, in your mix consist of? And you, you talked a lot about having pretty much everything in the mix, A balanced mix. 'cause you wanna be able to hear the, those guitar lines. Yeah. So you can mimic those things or coen, you know, be able to support that or harmonize with that lead line. Absolutely. Yeah. Uh, call that and, and in the MD mic and you wanna be able to hear every little nuance. Uh, 'cause it's not about just yourself and it's the whole band. Exactly. As an md. Yeah, for sure. Talk a little bit, not as practical of a thing, just a little personal question to you. Yeah. But, last year when I was with you guys here in Colorado, you were at Red Rocks Amphitheater. Mm-hmm. Performing, um. Right before Maverick City. Yeah. And how was that? A whole experience playing at Red Rocks again, being back at the amphitheater and, playing with the different groups there. I think that there was another group there too. Was that Thrive Worship? Yeah, we love Thrive. We're really close with them. Such good people. It's good to hang out with them. And then, I think it was Kane was second. Oh, okay. That's right. Yeah. And they were playing up on the like B stage, which is at Red Rock Amphitheaters, just above the front of house area. That's right. And they were awesome. We gotta talk to them a little bit. Um, they were really cool too. Really fun people. And then, yeah, it was us. And then Maverick City came on after us and we gotta meet a little bit of, of the Maverick City people when they were like, because you, I dunno if you guys know this, but when you're sound checking, usually the band who goes last is sound checking first. Right? So they were kind of wrapping up and we were setting up our stuff, so we gotta hang out with them and just, everyone was just super nice. It was really cool experience. That was my second time playing at Red Rocks Amphitheater and it's really cool. That's just been a bucket list of mine for sure since ever since I was like a junior in high school. And I don't know if I said this on the last podcast, but it was really cool because it was, it was a bucket list for me to perform there, the two times I played there has been with Red Rock's Worship, and it's not about performance, so it's not like it's That's right. Stressful. Yeah. It's just been so freeing and just seeing like 10,000 people just worship together. Like, it's not about us on stage, it's about all of us just glorifying and just looking at Christ. So, and I love that, that day in particular, do you remember it was raining? Yeah. So heavily that afternoon. But the la the rain let up a little bit, right? I think, I think it was like y'all set. Yep. It was letting up and then the rainbow appeared. Yeah. Over, over the, from the crowd perspective, I don't know if y'all could see it from the stage, but behind y'all the full rainbow, we could see a little bit to our left when we look behind us. It was such a beautiful, such a beautiful, beautiful, we're gonna say. Beautiful. It was such a cute moment. I don't, I don't know what I was trying. It's such a cool and beautiful moment. That's what, that's how that happened, man. Wow. You should actually, that's a new word. You should trademark that. Yeah. Beautiful. Yeah. Such a beautiful moment, guys. But no, it really was truly beautiful. It was so cool coming back home and just seeing like, everyone posts, like all the friends posting, like the photos of the rainbow and it was, it really was. I think it was right when we started the song. There's no way maybe, I can't remember, but it was, yeah, it was just man and the drum parts man. Yeah, were incredible. I love the drum breaks, bro. Matt McKenzie is a beast. He kills it. We call him 2% and the reason is because he always has that extra 2% that we need for our songs. You know, he always gives a little, I thought that 2% milk thing, but no. Yeah, sure. Let's go with that. No, man. Love it. So good. So cool. Let's talk about, is there anything else you wanted to add with sound design in which you're doing? There's not really much except that I do have an organ on here in case I need to use it for certain things. Sometimes I'll pop it in for like, um, what's the elevation song? Graves in the Gardens. Oh yeah. Wow. We haven't played it in a while clearly, but sometimes I'll pop it in and I just have a B three, organ, obviously with the, you know, the rotary on and stuff. But yeah. That's fun, man. Talk a bit, a bit about what you guys do as far as, touring world versus church world as far as tracks go. MD goes, band goes. How do you approach the difference between playing on a Sunday morning? And I remember last time you were talking about 17 minutes, right? Is it still 17 minutes? I think we changed that. I think it's about 20. 21 minutes or something like that now. Oh. Because we actually, yes, let's go. We used to do That's one extra song that, that's two extra bridges. Well, we changed where the song is. Okay. In the service now. Got, we used to do two songs before, two songs after. Now we do three songs before and one after. And we found it's really been awesome because we have the first song, which kind of just opens the service. We have a welcome block and then instead of just doing one song, we have two songs. So it really allows us to really like, just get into the right, you know, head space and just like, just worshiping Christ before, you know, we're ready to hear the message. Plus, we've also found that like, having two songs afterwards, sometimes people are like, after one song, they're just like. I'm good. Like I'm ready to go. Yeah. Start picking up their bags and are we done yet? Yeah, so we've switched that around. I think it's like 21 minutes, but we still can, we still basically do three songs, but sometimes, we will do like shorter, like a shorter half intro song and then so we can add like another half song, like, like two and a half songs afterwards. You know, it just gives us, freedom to kind of, you know, move that time around like, we need to, or use that time, utilize that time like we need to. Yeah. Um, well, congrats on that. Thank you. On moving from 17 to 21, 22. Yeah, man, that's pretty cool. Actually. Talk on that a little bit because I've, as per, as a person who plays keys a lot as well, or I'm in the audience. While I'm worshiping, uh, sometimes you feel like you get onto that, you kind of press through a wall, kinda push through a wall. Spiritually speaking on that second song, like first song doesn't have to be a warmup. Sometimes you can go deep on the first song. It doesn't have to be the second song, but, you know, sometimes you start to go slow down a little bit on that second song. But then whenever it's like, oh, okay. You know, and you pray and you bring back the mic stands, the guitars, and it's like, okay, the pastor comes and we go onto to the next, you know, segment of the service. Yeah, yeah. It kinda loses a little bit of that. Momentum. Momentum. So yeah, talk a little bit about that. I mean, I think it's great that y'all have a little more time and can break through with maybe three or four songs or just three longer songs. Can you speak any into any of that? Do you have any opinions on that? I do like it. I really like, uh, the new like service set, like the new service, order, yeah, it's, it's definitely interesting to see how our congregation, congregation takes that because they, uh, they're used to like having one song open, one song message, two songs. And so like, um, at the end of First Song, we'll, you know, we'll usually bring it down and then sometimes we'll like, try to, you know, just worship, like sing a chorus and have them lead. Or sometimes we'll just like, even just have a moment of silence and sometimes I'll even fade to zero before I like fade into New Key. And it's been really interesting to see how some, sometimes it still feels like people are like, what do we do? Like the silence? We don't know. But, uh, we're trying to like, break down those walls. Like it doesn't, you know, you don't have to be going 100% all the time, you know, so That's good. Um, yeah, I really loved it and it's really helped us just to like, yeah, settle in before the message. Um. Plus it's really nice to just like, have one song out, a message. It kind of just like, it feels like a solid, like stamp on the like service, you know? Sure. Um, solid. Just like send off. So. Love it man. Yeah. So talk about your gear. We do have the Nord stage three that you're, you've been playing on to demonstrate your sound design, but you also, so when you're on stage, you're stand, well, you're standing up for one. I know there's different opinions on do I sit down as a keys player, do I stand up? Oh yeah. I think it goes down to whether or not you're like truly classically trained pianist that you sit down at the bench and play. Right. Versus stand. But I know for most of the time modern worship people are standing on stage. Everyone else is standing except for, um, 2% over there. Yeah. Uh, he sitting down on the drums. But you know, you use a ultimate stand, which is pretty cool and slick. I love the ultimate stands that we can have the double decker. That's great. Yep. And then tell us a little bit about what's. Sitting right there on that front tier. That top tier. Yeah. What is that little thing and what are you doing with it? Yeah, it is an MPD and it is, sorry, an A chi MPD 2 2 6. Okay. And it is basically a pad midi controller. And it is controlling Ableton, which is off to my left. I don't just play keys, I don't just md I'm also the playback engineer all on stage. Yes. And we have all our MDs doing that at every campus, so it is a big ask sometimes churches can't afford to have a playback engineer and stuff. But a lot of churches do. But that's one thing we've kind of stuck with and it's worked with us, it's worked for us. And yeah, so anyways, it's basically like there's, there's a four by four pad grid and on those pads I have different elements of the song. So I have like the top of the song. Um, and then we have like the play stop button and all that. And then we have faders for. Sorry, I, let me continue with the pads. I should have started with that. So we have the, like the top of the song, we have the intro of the song. We have a low course and a high course, low bridge, high bridge. We have an end, which is kinda like the last, like where the tracks like, it's like the final chord. The tracks play before they kind of fade out and then just click. The reason we have that is because you can kind of go to any part of the song. Like say we're like in a big chorus section and after the chorus there's like an instrumental, but the worship leader's like, you know what, no, I wanna go back into a big bridge. So he'll gimme the sign for bridge. And I'm like, cool. So go straight to bridge and it'll, you know, enable to, it'll wait to the downbeat to go to that bridge and we go straight there so you can kind of jump around in the song. Um, and then he's like, after that he is like, I want to end it, you know, so I'll go end. And so it'll jump to the very last chord played, and come down. So it's, it's really cool. And then to get to song two, we just use it preset too. So you just change it to preset two. And those are all, I've programmed the MIDI controller to have different midi notes for that like. Different choruses for and stuff for song two. Yeah, so that's how it's set up. But we do have faders for click cues and tracks. The only time we use click is when we're actually syncing up click over Resi. If you don't know what Resi is, that's what we use to broadcast to other campuses. We broadcast these speakers video and mic, but we also broadcast my MD and click to other campuses. So they're actually like, the click will be running after Song three, and it's the same set at every campus. So they'll already be in that tempo basically. They will hear the click and then I'll be like, all right, we're gonna play chorus chords. So we go into chorus chords. And so whenever I'm like, I lift with the speaker at Littleton, the bands at other campuses will also be doing that at the exact same time. 'cause they're hearing me also over resi. Super cool man. Yeah, it's really awesome. So at the end of service we will use that click to, I'll try to press play on our local click while we're here in broadcast. Click and try to line it up as close as I can. And then once it's closely lined up, I'll turn the fader down. Just so you, you're not hearing two double clicks like for five minutes at the end of service, and then at the end, we'll I'll turn it up here, double click for like five seconds and then they cut resi and then it just flows straight into the last song basically in time, which is really cool. That's super cool. It's a really genius way to, you can use resi for so many. For so many different ways. Yeah, talk a little bit about this because Yeah. We've had a few episodes actually on, this is a big church in Alabama that does this Church of the Highlands. Yeah. And Tyler talked about this, and how they do it with all their 20 something campuses. Yeah. They're running 20 something campuses and they do this to where everyone can hear that same click and his MD at the main campus. Yep. But we did get some comments that say, you know, I don't think this is necessary. Why are you doing that much work for this? What's the purpose of this? So for those that don't understand why you would even wanna do this on a multi-site campus like this. What's the purpose for it? And is it that much extra effort? Is it that much extra money? Is it a resource that people shouldn't invest in? Should they invest in like, you know what I'm saying? Yeah. Those that might oppose this and, um, might be weary of this and or scared about this. I think sometimes we're like this when we don't understand something, right? Yeah. You're like, oh, I don't, I've never understood a, an akai mini, a mini controller at all, so why would I use it? And then you use it and you're like, this is game changer. Yeah. But anyway, speak on this. Tell us all about it, man. Absolutely. That is a great question. So the purpose, we, the reason we use it is because, first off, we want unity at every campus, but, it really does help. Okay. One of the main reasons we actually started using it is because we could hear the drums at the Littleton campus come through the speaker mic. And then like, it's kind of creating some like weird, like if your bands at, at the bands are at different campuses are playing it at different tempo, you, it kind of feels disorienting because you're hearing two different drums going on. So that was one real big reason we started doing that. That way when you hear like a, like the bleed of the drums through the pastor's mic, you actually can't hear it because it's drowned out by the drums doing the exact same thing at your local campus. So that's one big reason, but also it's just been really nice to, just like flow with the passer. So like, if he like gets hyped up, I'll tell everyone to get hyped up. So every band does that, and then I'll be like, bring it down. But sometimes if you're emptying locally, you'll put weird lifts in different moments that doesn't really match the energy of the speaker. Finally, this is a huge one. We really started using this because we have Pastor Jimmy Rollins, come speak at our church a lot, and he loves to sing with us. Love it. I love it. And he will not tell us, like, he'll just be, he'll just start singing like graves in the gardens. I don't know where we're like, oh, okay, this is happening. So every time he comes, we actually make sure that every campus is also in the same key. But we will still be in whatever tempo we're in, yeah, in that way. So like when he's, when he starts singing, like the band is, he knows where to start singing the course, you know? Um, if other campuses are not playing the course at the same time, then it's gonna get. Just, it's chaos. Like, especially if you're not in the same key, he's gonna start singing not in tempo, not in the right key. It's just, it's like massive fail. It's been really cool to use that as a tool to if Pastor Jimmy starts singing, cool, we're good at other campuses because we're all on the same key and we're all playing the chorus on the same downbeat. So that's why we use it. That's amazing. So it's for unity, unity, unity. That is the biggest thing. Yeah. Clarity, unity, all those things. Yeah, I would say, I would say like we did make it work without resi for quite some time. I don't think we got resi till, oh man. I don't know. Probably when I first started emptying 2018 is my guess, but I could be wrong. So we made it work, but we just had to make sure that Littleton campus is like, we would have to tell the drummer, don't play too loud, you know, or like, don't build too much at the end. Don't give that extra 2%. Yeah, exactly. Yeah. So it did hinder us a little. Like it, we made it work, but it would hinder us. Like we couldn't get as flowy at the end, especially when, if Pastor Ja, Jamie Rollins comes in. We'd have to be quieter and then sometimes it would still bleed. So we'd have to tell other campuses, like, drummer, play louder. And then you're not using the same dynamic. Anyways, we made it work, but it is truly a game changer. It's one of those things, you don't realize how much you needed it until you have it. That's incredible. Depends on your church size, your budget and everything, but it has absolutely been a game changer. We've done a lot of things with resi. We've also sent Tyler's singing mic to other campuses, so like bands at local campuses will be playing while Tyler's singing from Littleton. And you can see that on the video. So it's, there's so many cool things you can do with Rezi, but that's amazing. Yeah. And with Rezi, you know, studios, professional studios, we could have a pianist all the way in Europe somewhere, which he visited Europe not too long ago. Someone could literally play in another country and through. Audio over ip, this protocol, Dante and Rezi and other things, you can literally record in real time with someone across the world Yeah. And actually sync up and you're like, whoa, this is crazy. Absolutely amazing technology. Yeah. But that's cool that you can use that in the church world. So I mean, the secular world's secular world is using it to full capacity. I don't think the church approach should be scared of using it as well to say, Hey, you know what? Let's lift the name of Jesus and let's have unity and clarity in this. Absolutely. Yeah. So I think it's cool. Okay. So recap your gear. You have the Yes. Um, mid controller Nord stage three. Yep. You have Ableton. Off to the left you have an MD mic. Yep. Anything else we're leaving off? That's pretty much it. Oh, except there was one more thing about the control I forgot to talk about. Okay, go for it. So we have the fader for queues as well. And we have a fader for tracks, but tracks we actually don't use volume for. We actually have a full filter system, so love it because the filter, again, there's the queue again. It's so important. So when it's all the way up, filters are like all the way open. It's all the tracks are in. If you bring it all the way down, it's like a full, it's not like a 12 DB or 12, it's like a full, it cuts out everything all the way down to the bottom. So it tracks are completely out. But what that does is that, it actually helps, like say we're in a big course progression and in the middle of a course, like the worship leader decides, he is like, you know what? I wanna bring it down a little bit. But like, you can't wait till the downbeat of the next like section to go to a low course. And then suddenly tracks are like, so like what we do is we actually like, while it's still playing the full like massive big course section, I'll bring down the filter. The fader to about halfway. So it filters out all those like tambourines, high-end percussive stuff, and it kind of creates like a more warm bed, almost like a pad that is still playing behind us and it's not overpowering what the speaker's trying to do in that moment. And it still matches the band's energy. So it creates all these little nuances and plus just fading tracks in and out. Feel a lot more. Musically pleasing when you're using a filter system, then just a volume because Absolutely. Yeah. So that's why we use a filter system for that. But I love that. I love that. I wish we could have time to even demonstrate that. Yeah. But there's only so much we can do all in one episode, and it's just great to hear from you today. Spooky we're not done yet, but along those lines too, maybe you don't use Ableton at your church, but maybe you use, you use Loop Community and I love Loop Community. Um, you can actually, I haven't mapped, when I go play keys, I use Loop Community to run my tracks and click, and I have a mid controller that I already had. It was at Leases 25, you know, a decent little cheap mini controller that does the job. And it's this. Only 25 keys a part of it. Yep. And the whole octave is actually, mapped to pads difference. Oh yeah, yeah, yeah. The drone pads in loop community. And then the push pads off to the left. I have it mapped up to the place. Stop, , cues mute, click only. Yep. Uh, BPM up or down. 'cause you can do that in real time. Yeah. And you can actually go back to, you have a repeat button because it happens a lot right before a bridge. And then the worship leader starts to minister a little bit. So you just go to repeat. Yep, exactly. Repeat that section. Loop community has had so many updates lately to where it can do a lot of things. What Ableton does, so like Yeah. If you wanna go to something at the end of that measure, you press that, that section. Yep. And it goes to it at the end of the measure. But if you wanna go. At that whole end of the section, which is actually probably better 'cause that whole eight bar loop, then you can do that and put that in the settings. Yeah. And it's all controlled through mini map. So if you want us to demonstrate that one one day, let us know in the comments. Yeah. And we'll try to demonstrate that one day how you can do that. Specifically on Loop community. We have had some episodes on Ableton, Evan Feal with a Belonging Co. He, he did a full walkthrough of his tracks rig. He's using, touch OSC on his iPad, which involves a little bit of coding and programming, right? Us Keith players we're a little bit of programmers and it guys, but you kinda have to be, so check that episode if you need it. But there's tons of resources and tons of different things to do it. But I love that you do it with a mini controller. Mini controller. It's, it is your way of, this is my instrument and we get to control Ableton and Ableton is a great tool and it doesn't have to have complete control of you. I think people, again and again, have misconceptions on tracks. Yeah. They think, oh man, that really locks me in. But places like the Belonging Code, places like Red Rocks Church, I mean, they're flowing with tracks if you know how to use it effectively like you do. Spooky. Yeah, exactly. Yeah. Awesome, man. Okay, so I'm loving this conversation today really am Any time to get to, uh, hang out with you. Spooky is amazing. Aw. So appreciate it. So some questions about touring world. Is your equipment different for touring world or is it the same church and versus touring world? Is there anything difference between that? We still use the same Ableton setup with the mid controller. We do not use this stage three because this stays at the Littleton campus. Okay. Okay. Okay. So we actually use our previous, Nord, which is a Nord piano three. Okay. Which does not have a filter on it. No. But there are still ways around that. Okay. So I've just used the EQ and I take out all the treble and it's set specifically to just the pad. Okay. But I take out all the treble and most of the mids and it kind of still gives it that warm. There's still a little bit, because I think it's like a 12 DB kind of like. I could be wrong actually. No. 15. Yeah. It literally says right there, but, so you said Nord piano? Yeah. Nord piano. Three. Three. Yeah. So some of y'all have been asking like, oh, what's the difference between all this? Well, Nord stage three, Nord piano three, you couldn't, you definitely don't have that filter. Yeah. Job on there. So, hey, and that's pretty crucial for some sound design, unless you want to do some work around, so, hey, maybe B buy the North stage three instead of the Nord piano three. But you still love the piano three. Yep. We make it work. I'm still waiting for the day that we can get a Nord stage four at the Littleton campus, so I can take this baby on the road because it is a little bit more like I can do more with it. With the piano, it's still, it still holds it down really well, but I can't do quite as much as I would like to. I can't, you know, layer pianos like I can on this and stuff, so, or filter like I can. So let's talk about touring world. I. In church world, how to balance that. Mm-hmm. And like spiritually speaking, yeah, technically speaking, practically speaking, all of the above, man. Tell us, not even just the sunshine and rainbow type stuff, just anything, any struggle you have, victories you have, with touring world versus church world. Now, again, red Rock's worship, you need to go check them out. If you don't know their music, we'll probably link it here in the description. Most of you will know them because the reason why you're probably still listening to this episode is 'cause you love spooky and you love Red Rock's worship, and you just wanna know more about it. But definitely check them out because they're incredible music. You just got off the road with them. How many different cities? How many shows did y'all do? I believe we did. I could be, it was either 12 or 13. I think it was 13. Okay. Over how many days? Weeks? It was over basically an entire month span. Okay. So we did have like a. I don't, I can't remember exactly. Well, if you do the math third, like 30 days minus 13, but then travel days on, because we had three different legs. So we do like a group of, uh, shows back to back. Have like, I think we had a week off about, and then, another group of shows and then like a couple days off and then another group of shows. Sweet. Yeah, so that's a good bit. That's a good bit of stuff. It was, yeah. And y'all are, a lot of you guys are on staff at the church or at least leading a lot with the church. People that are on. On staff and going on tour. Yeah. So how do y'all balance that? And also just for as a, an extra little thing, y'all are signed to a label. Which label is that again? It's Provident Provide, is that right? Yeah. Yeah. 'cause I should know that off the top of my head. It's like the Sony, but it's like the Christian, you know, perfect. Like part of Sony, but yeah. Cool. So y'all are on a label. You have label execs, you're doing the label thing. Obviously you have your freedom and y'all are your own stuff with that, but you guys are signed. So that's the one little aspect. Mm-hmm. So yeah, man, take it away man. How is the touring world? How do you balance that with church world? Tell us all the ins and out. Ooh. Yeah. So, I will say, I'll talk about two different aspects of it. One is that, when we're on tour, obviously we are. Not home. So like sometimes you'll will be gone on weekends. One of the first things I had to really do before I started touring was to multiply myself, in many different ways. At a campus level when we're not touring, I make the Ableton sessions for every campus. We basically use one session for every campus. Um, I'll also schedule, for Littleton campus and update PCO with the songs, for the Littleton campus. Yeah. And then obviously I play Keys and MD I have two people that I can delegate that to when I'm gone. Or two to three people. So I have someone whose name is Grant Pio. Who was probably, what a great last name. Poon dude. He's Italian, so it's so good. Poon poon. He's been with us so long and he's, probably actually the most talented musician at Red Rock's Church, if I'm being totally honest. He's just like, wow. Y'all heard that? Yeah. Not ashamed to say it. He has, he's given the 10%, the extra 20% dude. Yeah. He has perfect pitch and he just like, has good instincts. He just can play anything. He's plays left-handed, but he like, where is he? We need him in the dude, we need him on the pod right now, honestly. Yeah. He can play a left-handed guitar or no, he can play right-handed guitar. Upside down on the fly. Like he just, it's kind of stupid man. He's just, he's good for Easter services. Yeah. And just like fun, crazy stuff. Yeah. Yeah. Just get him hanging down upside down from the ceiling. Just coming down. Shredding. Kidding. Dude. If you knew Grant, you'd be like, that's so funny if, 'cause I cannot see that at all. Oh no. He is such a humble person. Aw. And just so kind. But yeah, just so good. Anyways, he knows Ableton really well, so I'll have him, make the Ableton sessions and send them out. In terms of scheduling or updating PCO, I'll actually just give those, re give those responsibilities off to whoever's leading that weekend. Usually it's, like Brene or Jake, one of our worship leaders who's at a different campus here. And then the last thing is obviously playing keys and emptying. And I have, one guy. Right now I'm still investing in like, because I, I don't wanna just depend on one person for all these different things, but, one guy who's been such a huge help, his name is Elijah Mandeville, and he plays bass really well. He plays bass pretty commonly or pretty, pretty often. He plays, gosh, sorry, he plays bass words. It's hard, man. He plays bass pretty often, at our Littleton campus, but he'll also play keys and MD for me when I'm gone, and also just on a Sunday here and there, so I can go to other campuses making sure, make sure they're doing well and stuff. Really good keys player has beautiful, fresh ideas and different like, unique chord progressions that you can throw in. And just holds it down while emptying and controlling Ableton. Multiplying yourself is the biggest thing is like. Otherwise, I literally wouldn't be able to go on the road if it weren't for these people. So, absolutely. Yeah. I love that man. That's one aspect. The other aspect is the actual touring part, we just had a tour in like all of June basically, and it was, it was a lot. Honestly, it's a lot. I think a lot of people are starting to realize, touring is, it's not all sunshine and rainbows for sure. You're missing out on a lot of stuff. I missed, I think like three different birthday parties, two like friend Hangouts while I was on tour. You miss a lot out on a lot of stuff and you're on a bus, which sounds really awesome. It is cool. Like the bus is cool, but you're on a bus with, we specifically have it with 13 people, so like that's your hotel and you're sharing it with 12 other people, you know? When you're in that close proximity with each other, it's like having roommates. Tensions can rise and stuff, and you just have to find the best way to manage that with whatever's best for you. Luckily our team does pretty well with it. You know, there'll be certain moments, but, I feel like we do a really good job of like sleeping on it, waking up the next day and be like, okay, you know what? I was outta line. I'm sorry, like, you know, approaching each other. So I feel like we do a pretty good job with that. For me personally, I am a deep introvert homebody. I still, I love being social, but like I, I need a lot of alone time. When we're on the bus, I'll hang out for a little bit. But then as soon as I'm like getting exhausted, I'm like, I'm going to my bunk. Or sometimes even during the day, people will be like. We set up unload soundcheck and everything, and then we have like a full like, you know, probably three or four hours to do something before we have to be there for the night. So people will go out and do stuff and sometimes I'll be like, I'm just gonna go out and do my own thing. Like, and it's easy for some people. I feel like some, especially if you're like a leader in that setting to like take that offensively or be like, oh, they don't like me. But, luckily, Tyler is a great leader and I am with like the band and everyone I'm with is very understanding. When I'm like, guys, I'm gonna do my own thing, you guys just do your own thing. And they're like, yeah, absolutely. And as an introvert, making sure you're still making time for yourself, is really, really important. Even then, even while doing that on the road, you come home at the end of tour and you're exhausted. It is tiring. But I will say it's, that doesn't, override. The goodness that comes from it. Looking back, I still love the moments of being in a new city. I love getting to explore new cities on my own especially. But then also, just being in a room with just like a bunch of strangers that you don't know any of them, but getting to hear their stories and then like, just worshiping Christ, you know, like, um, it's really cool. Different cities are different. Sometimes people come in, they kind of expect a little more of a performance. They expect they're a little more spectator ish, but, we, at the beginning were like, we're gonna invite you to just look at him and worship with us. And, so it's really cool to just. Worship with people and just how people come and how they know all our songs in different cities. It's just like, it's really eye-opening and it is cool to see just how much God has chosen to use our music, which is humbling and so beautiful at the same time. So I love that aspect. That being said, you come home at the end of tour and you're exhausted. I think making sure you give yourself time to rest, is obviously the most important thing. It's in the Bible, it's biblical. It's, it is actually a command from Godlike to rest, you know, as much as you're working. Our supervisor, boss, friend, whatever you wanna call him, Tyler, he does a really good job of allowing us some time to just like rest after a tour and stuff. Yeah, sometimes when we're on tour and like we have those Saturdays and Sundays here and there, we, he, we still want to be there as much as we can because we, if we're gone for this weekend, we wanna sh still show up as much as we can for the weekend after. Even though it does get tiring, just making sure you give yourself plenty of rest at the end is really, really important. Don't be afraid to just bed rot for an entire day, yeah. So that's good. That's awesome man. Talk a little bit about church expectations. So in between runs, playing out live, then maybe there's some prayer nights or some bible studies or some small groups or some just things that, maybe, obviously there's always things in life, whether that be work, church, extracurricular things that you're just like, I'm not sure if I feel like going today, but then you have to go 'cause it's kind of expected. Talk a little bit about the nuances of the expectations of church world and your job and showing up to certain things, even in the midst of touring world as well. Yeah. Oh, that's a good question. For me personally, sometimes I, if we're being totally raw, sometimes I'll like come home and I'll be like, oh, we have a prayer night tonight. I don't know if I really wanna be here for this. I'm, I just want to bed rot for an entire night. I still show up and it is really important to not let that affect like outwardly, or like how your, your, your outward attitude, you know? Um, and sometimes I know I don't fully like the saying like, fake it till you make it, but I've found that it actually works sometimes. Like we did have a prayer night in between two of, one of our, two of our legs and I was like, so tired. I'm like, I don't wanna do this. And I went in and, I just made sure I wasn't like trying, I was trying my best not to just complain that I had to be there and stuff, you know? In the end of, at the end of the night, it was one of the most beautiful prayer nights, and it was actually so refreshing. I found that like God just does provide, he does, he always, he will give you rest, he'll give you peace, even in the midst of chaos. , And so I love that so much about him. But yeah, sometimes there are times where you just don't wanna be there. And that's just, and not because like, you don't love your job. I still love that I get to do this for a living. Like, I never thought this would be possible. Yeah. Like, so I am still so deeply grateful for that. It's just sometimes when you're tired it's hard. But, I would say that's the biggest thing is just making sure you don't like you, I don't want that attitude to spread to other people. And at the end of the day, like no matter how much I feel I. Even if that at the end of the prayer night, like I'm still feeling exhausted, like, you know what? God still finds a way to gimme peace. You know? As long as I just like keep coming back to him and making sure you're just spending time with him and his word, it actually works. Yeah. So that's good, man. Yeah, that's good. Thanks for sharing that. And even in the struggle, God is faithful, God is good. It's good to hear like inside scoop from someone who's doing that. 'cause some people aspire to do what you're doing. So to hear just a little bit of your story and the struggles and the victories with that. Mm-hmm. The rewards that come with it too. And we all know prayer is a powerful thing and you know, that's always really good to be a part of that, even if you are just the keys player in the background for that, or if you're facilitating something else with that. Obviously corporate prayer nights are awesome. I think we need to do more corporate prayer nights at churches, honestly. Yeah. So good. Talk a little bit about the album. Yeah. What's your favorite song from the album? Ooh. And what's your favorite piano part? And can you play it for us? Right now. Ooh, we need to hear more piano. I mean, this is the of Keys episode, man. Is this still on? Yes, it is. Cool. Great. Um, so, okay. The album was so fun to record. We had Aaron Robertson produce it again. He's so great. I'm still begging him to come onto the, the podcast, but, we haven't, this is a busy man. He's so cool. And he obviously, he writes a lot of the like, keys parts and stuff. But we do like, when we do pre-pro week, which y'all do right here in this room actually, right? Or y'all have before? Yes, I've seen on Instagram. Yeah. Yeah, we actually do in this room. Uh, so during pre-pro week, we'll all get together and we basically record the songs before we record the songs at the actual album recording. Just to have as a reference and just to know that we know the parts. And sometimes we can like, move parts around. Sometimes we can come up with new, like keys parts and stuff. But for the most part, he came up with a lot of stuff and I actually love what he comes up with, and it, a lot of it challenges me sometimes. Yeah. It's a really good album. Very vertical, also very like, uh, I mean, it's titled The King is Coming and so it's all about the anticipation of like, Jesus is returning, like, yeah, let's be prepared. I love that so much. I would say my favorite song, Ooh, it's hard. I have two favorite songs. One is Never Gets Old. I love that one too, man. It's so good, man. So the chorus is like, somehow it never gets old. Telling you you're holy, telling you you're lovely, telling you you're worthy and it's just like constant, just like glorifying Jesus. It's a really good song and it's, I would say like on the road almost every single night we finish the song, we bring it down. I'll still play that progression and people just still keep singing the course. Like the room will just keep singing the course, over and over again, which is so beautiful. It's such a good moment. And so tender. Another favorite song is The King is Coming and I think a lot of that has to do with just like the fun piano parts. It's the only six eight, oh man. It's the only six eight. Yeah, it's the only six, eight song on the entire album. I'm pretty sure. I could be wrong. I'm like 99% sure. That's cool, man. It's the only one. I can't believe y'all have a full worship album and only one song's in six inches. Yeah, I know that wasn't the case before for sure. My favorite piano part is actually from that song and it's at the very end. Okay. It's actually such a cool story because we were trying to figure out how to end the song. We were bringing it down Originally, the course was different instead of like, so the king is coming? Yep. Oh wait, is this, some of y'all might know this song is this, wait, is this whatever his face is? Yeah, bro. Wow. It's a big intro. The marketplace is empty. Bill Gaither, dude. Yeah, he's almost 90 years old. We just actually saw him not too long ago in concert and he's still doing a great, anyway, it's amazing. I know he had that hit. The King is coming written some decades ago and it was so funny on y'all's socials having an old vinyl album cover. Yeah. Of the King is Coming, dude. Wasn't that from the Panther I found so, yeah, I found that vinyl. Are you the I was the one. You're the one. I found that vinyl in Pagosa Springs, Colorado said the king is coming and it was album release week that week. So I'm like, I can't believe this. So I bought it and I. Printed out a picture of Tyler's face and I stuck it onto the vinyl. It's somewhere on Red Rock's worship. We gotta find it. It'll put on the screen too. It's, it's unreal. But yeah, that was a fun little prank to pull on him. Sorry to interrupt you. I just had to pull that out, dude. I, because it reminded me of that. Yeah. But for sure, continue with your sound design, the piano part. But a little sidetrack. Some of y'all might know the ga the vocal band and understand what we're talking about when we say the king is coming. Um, keep going man. Yeah, no, you're good. So my favorite, uh, piano part, is actually from that song, the King is coming. We were trying to decide how to end it. Originally the song was different. Jesus. We prepare the way. I'm not a singer, but um, that's how we end the course. It used to be ah, ah, amen. We used to end every course with that and we loved the amen but we changed the chorus in the song. And then at the very end we were still gonna sing the ah, amens. But then we're like, should we like people? It's not in anywhere in the song except for the end, but that's kind of cool. But then no one's gonna know that part. Like people aren't gonna know how to sing that so we like went back and forth this whole time and then finally we decided it's like, okay, let's do the Jesus. We prepare the way. Uh, and so we just do that tag. And then we were like, do we just end it? It was like, no, let's do a little piano outro. And so we kind of like. We actually made this piano outro on the spot. Like, uh, it, it wasn't even during pre-pro week, I'm pretty sure. I'm pretty sure it was like the week of the album recording we came up with this. I'll play it for you real quick. So that's just how it ends. And it was such a cool moment that night because it's beautiful, man. It was just silence after that and it was just, yeah, it was. So good, man. I love how that sounded, dude. Thanks man. So, so good. Well, thanks for sharing spooky Scots of Red Rocks Church. Red Rocks Worship on the Worship Keys Channel today. Whether you're listening on podcast right now or you're watching on YouTube, congratulations for making it to the end because most people do not make it to the end. So glad you and you know, spooky, you're one of the, I'm gonna take these massive headphones off. By the way, great headphones. Get these if you need some new headphones. Yep. What are these again? Uh, Beardys. I don't know what it says on the app. Bear Dynamics. The seven seventies, I think dt. Seven seventies. Yeah. Yeah, yeah. Pro. Anyway, good headphones. Um, but they sound great 'cause you're playing keys with 'em, so that's why it sounds so good. Thank you, man. But guys, thanks to all, thanks for tuning in. Again, if this is your first episode, subscribe, follow along on Instagram, YouTube, email meCarson@theworshipkeys.com if you have any questions or complaints or anything. And if you have any suggestion for other keys players, we'd love to, have them on as well. We have some other keys players, coming up that are really great keys players and exciting and, just as amazing as, as you are spooky. And we're just so grateful to have you on. And you're one of the only, uh, keys players that we've had on that has a nose ring too. Oh, I, I, I don't, I didn't have it last time. I don't think. I don't think you did. I don't think you did. There's one other keys guest we had Louis Higuera. Who was played with Torn Wells and Lauren. Yeah, yeah, yeah. And other artists. He had a nose ring, I think. And I think just y'all two have been the only ones. Hey man, out of 70 or 80 guests that have had a nose ring. So congratulations. Thank you. No, actually I take that back. 'cause Jeannette and Zoe were just on and Oh, they both had, do you know Jeannette and Zoe? I, no, I don't know them, but you need, you need to know them. Don't need to connect. I think I've seen them on your, on your, uh, feed though, for sure. Yeah. Yeah. Yes. They, uh, they have nose rings, but anyway, sidetracking now, but is there any last words you'd like to leave to the worship community right here in 2025? Any encouragement, any rebukes, anything you'd like to leave with the Worship Keys community? Man. Just making sure you spend time with him and yeah, spending time in the word praying to him. Also don't be afraid to go to therapy if you need it. That's one thing I'm like, I that man therapy. Yeah. You know, sometimes, praying and spending time in the word is so good, but sometimes you just need to, like, therapy really does help heal so much stuff from the past, and that's one thing I'm kinda like currently going through. So yeah, don't be afraid of therapy. That's good man. Don't be afraid to be raw in yourself. I'm really lucky to be at a church that allows me to not have to put on a face or be on all the time. And so I'm so thankful for that. So yeah, I love that man. And I love how real and authentic you are. Thank you. Every time I'm talking to you, whether on camera or not on, I mean off camera, you're just so real and authentic and I love that about you, man. Even you just sharing stuff about life in general and friends, family, travel, whatever it may be. And God is with us through it all. Mm-hmm. He is, he and he even sits in that, in those moments when we have not chosen to pursue him. That's so true. And uh, therapy is so important, man. Yeah. And I know as someone who does a lot of weddings, therapy and counseling, premarital counseling is so great. I've been married four years and it's been so great to, we were so thankful for the premarital counseling sessions and even sessions after that, you know, while we were married. So important. So for you personally, whether you're married or not, or married or when you have kids and wherever. Yeah. Yeah. Thanks for that man. Yeah, man. Good words. Well, if you wanna, if you wanna see him back on another episode, please comment, let us know. Honestly, we need to start just having you on every single year, because that's what we've been doing so far. Yeah. We need keep that trend going. Yep. And he's actually spooky, you're