🥁 Free Percussion Samples – https://sendfox.com/lp/1xl909

A percussion kit for worship is a great way to involve more people, train up new volunteers, and enhance your band’s sound by adding awesome textures and effects. I love using percussion in a worship band context, and once you hear it, you’ll realize how much it adds a “polished” feel to your band.

In this video, I’ll show you how to build a percussion kit for your worship team. Send this to someone you think should see it.

Build Your Kit 👇

1. Lekato Drum Pad – https://amzn.to/3UKTvCH
2. Shaker – https://amzn.to/44F91od
3. Tambourine – https://amzn.to/44HzyB7
4. Mount – https://amzn.to/44Iv25u
5. Tray – https://amzn.to/3QJhvEQ
6. Cymbal Stand – https://amzn.to/3wIYITl
7. Cymbal – https://amzn.to/3K3wAgW
8. Mallets – https://amzn.to/3UKTuyD
9. Spike Tape – https://amzn.to/44Hs2pW
10. Rack Screws – https://amzn.to/44YQ9kl

▶️ Percussionist Training Vid


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Hey, friend.

In this video, I’m going to show you how to build a percussion kit

for your worship ministry, and I’m going to share with you some tips on

how to build it, which gear I recommend, which samples you should use.

I’ll even give you the samples for free underneath this video

so you can put your email in and grab the samples, including the settings

for this cool new drum pad that I found.

And I’ll tell you about this drum pad in a second.

If you’re listening to the audio version of this, don’t

worry, I’ll explain everything in a way that still makes sense.

So let’s jump into building your own percussion kit.

So the reason why I recommend building a percussion kit

for your worship ministry is it’s a great way to get new people involved.

It’s a great training position.

I actually have a video on five ways to get more people involved

in your ministry, which I’ll link below.

And this percussion kit is one of those ways.

It’s called an entry-level position.

I recommend that you create one of these, and I’m going to show you

how to do it right now.

The first thing I want to talk about is which elements I recommend you

use for your percussion kit.

Now, there are many types of percussion kits out there in the world.

Some of them have bongos and congas and chimes and triangles

and all sorts of extra things.

I don’t recommend that for modern worship.

However, if you disagree with me, leave a comment, bongos.

If you think bongos should be involved in modern worship,

I’m totally down to be corrected.

But I recommend a drum pad, a nice shaker, a tambourine, a mallet with a soft head,

and a cymbal for cymbal swells.

Now, I used to include a big, gigantic tom for the percussionist to hit this huge

tom, but they never ended up hitting it.

So I just scratch that now from my setup.

Those are the instruments and elements that I recommend

that you use for your percussion kit.

Let me give you a couple bonus tips about that.

For your tambourines, I recommend that you use a brass tambourine.

It’s gold-colored rather than a silver tambourine because

the brass tambourine is warmer.

Let me just try to show you.

I’m not sure if you’ll be able to tell on the audio, but here’s brass,

and here is silver.

Notice how the silver is thinner and higher pitched and sounds a bit

and the brass is darker and warmer and stays out of the way.

In general, in worship music, I like warmer sounds, including warmer cymbals.

I feel like high pitch sounds are very cheap and tinny and harsh to the ears.

I’d rather have something sit in the mix better.

That’s why I recommend a brass tambourine, and I will put links underneath

this video for where you can get all of these, and they will be affiliate

links, so it’ll help support the channel.

This one is the LP cyclops tambourine.

I have no idea why it’s It’s called a cyclops tambourine.

So brass tambourine versus silver tambourine, that’s my suggestion.

Regarding the Shaker, I really like these shakers by Minal.

It’s the model SH4BK, and there are three different loudnesses.

I recommend the medium loudness, and it sounds like this.

I will put a link for this as well underneath this video.

Now, as for the drum pad, I have a tip.

It’s a new drum pad that I found.

I was going to buy the Roland S PDSX.

That’s what I had my previous church, but I was looking at the price.

It’s like 850 bucks, maybe sometimes down to 699, 700 bucks.

And I was like, I’m probably not going to utilise all of

the capabilities of this drum pad.

Why not look for something cheaper?

And I found one and it’s great.

So this is what it’s called.

It’s the Lacato drum pad, and you can get it on Amazon.

Link below. It does everything I need it to.

And it was so cheap.

I actually bought two.

And you’re like, Alex, why would you buy two?

Well, guess what?

I’m going to set up the exact same percussion kit in the youth band so that

the youth kids can start getting familiar with it, get training on it,

and then when they’re ready, I can move them into our main sanctuary.

That’s a small tip.

For the price of one SPD SX, I got two of these Lacatos, and I loaded the samples

on it that I created for worship music, and I will put those samples

below this video labelled correctly.

Just put your email in and I’ll send them to you, and I will even send you the file

that you can load onto your locato that will have all of the volumes

balanced for you properly.

That is my small gift to you for watching this video.

All right, now I’m going to move the camera and show you the drum

pad, and I’m going to show you the different samples that I’ve loaded

on and explain when to use each one.

That’ll help you realise what samples you can either create

for yourself or for your church, or you can use mine from the pack below.

I have nine samples loaded.

You’ll notice I’m using bright green spike tape on the drum pad.

The reason I’m doing this is because in the dark, if it’s ever dark on stage,

you want your percussionist to be able to clearly see what they’re hitting.

And so I have Snap, clap, impact, kick, snare, tambourine,

sub, drop, uplifter, downlifter.

And so I’m just going to hit each one and explain where you might

want to use this in a service.

So the first one I will do is impact.

It’s just a huge boom sound, and it sounds like this.

And you might say, Alex, when would I ever want to use a huge big boom in service?

Well, the answer is whenever you want to make an impact,

and that’s why it’s called an impact.

This is really useful for coming into a big section of a song, usually

coming out of a course into a big bridge.

Boom, redeemer, my healer, Lord Almighty.

Usually, you only want to use it once or maximum twice in a set.

But anytime you’re moving into a huge boom, big, epic part

of a song, I’m also thinking like, Shout Jesus from the mountains.

Boom, when it says Jesus.

An impact is a very impactful tool in your arsenal.

And so your percussionist can use the impact then.

The clap sound is just what you think.

Okay, and so that’s going to be like two, four clap or if a song has an electronic

element like a house of the Lord, the intro, boom, boom, boom, boom.

Right. So that’s when you would use the clap.

The snap is something new that I’m trying.

I used to have a hi-hat sound, an electric hi-hat, but we never used it,

so I’m trying this sound instead.

A reverb snappy sound.

The kick, electronic kick.

That would be for the intro of tremble.

Peace, bring it all to peace.

Reverb snare would be like, This is amazing, Grace.

This is amazing.

Or maybe you do it every other, and sits underneath your drummer’s actual

snare, so you don’t really hear it.

It just adds this reverb-y body to your snare.

The reverb tambourine is probably my most used, and it sounds like this.

It’s just a tambourine with a reverb on it.

The reverb tambourine is for soft parts when you’re using a shaker,

and it’s every eighth count.

The drummer is hitting the snare on the two and the four, and then on every eight

count, your percussionist, while they’re shaking the shaker, will hit

the tambourine sound, and it adds just some new texture underneath the snare.

The sub drop is for the huge breaks.

If you’re coming out of a chorus or building into a chorus,

you can hit the sub drop.

It sounds like this.

Now, it sounds really, really weird on this tiny speaker that I’m using

in my office, but in the house, it’s like it rumbles the subs

and it rumbles everybody’s guts.

Usually, you want to use it on a four count.

For example, going into the second chorus of the song, Your Great The sick

are healed, the dead are raised.

Two, three, add the sound.

Three, your great.

One, two, three.

Boo, Jesus.

The band would break, but the sub drop would go through.

The sub drop is a really fun one.

You probably only want to use it once or twice per service.

Then I’ve got two more effects that really add energy to the song.

It’s called Uplifter and Downlifter.

The Uplifter is something you would want to use during a build.

It’s obnoxious, but if you put it down in volume compared to the other effects,

it just sits underneath all your other textures and adds a lift to your build.

For example, it sounds like this.

It’s like a cymbal swell.

It’s happening in the background while your drummer is like, and

everyone’s building an intensity, the uplifter frequencies are also

building an intensity. Then the downlifter is the opposite.

It drops the frequencies.

It starts high and ends low.

It sounds like this.

I use this going into choruses.

It plays a similar role to an electric guitar strum, a big open electric guitar

strum going into the chorus.

So at the top of the chorus or at the midpoint of the chorus,

or if you’re coming down, let’s say you’re coming out of a big

bridge, and right before you go into a quiet chorus,

you can hit the downlifter to bring down all the frequencies.

Those are the samples that I recommend you use, obviously, with the drum pad.

You can create multiple kits.

You can get really creative.

So you can download these ones for now, and then you can add to it later.

Let me give you a few important tips when putting these samples together.

The first tip is to turn off your velocity sensitivity on the drum pads.

You want them to be the same volume, no matter if your percussionist

hits it soft or hard.

Now, that might sound like it’s not very nuanced, but you have

to remember, these are effects, and you You might have an amateur

because this is a training position.

You might have an amateur and they’re going to hit it soft

sometimes, hard sometimes.

You don’t want this like all of a sudden it’s sticking out of the mix too far

and sometimes it’s buried in the mix too little and you can’t hear it.

I like to set the velocity to max or off, depending on which drum pad you have,

so that whenever they hit it, it’s the same volume every time.

No matter if it’s hard or soft, you’re going to get the same output

by turning off velocity or to max, depending on which drum pad you’re using.

The second tip is to balance all of your individual drum pad volumes by

going through each one and turning them up or down so that you have a

general average volume across the board.

And pro tip, when you’re balancing the volume of your pads, you want to do it in

your main sanctuary where you’re actually planning on using your drum pad.

You want to have your sound person in the back booth.

You’re up on stage, you’re hitting each drum pad, you’re asking them

if it sounds like it needs to come up or down until he or she says, Everything

sounds balanced, everything sounds good.

So make sure when you are setting your volumes, you’re doing it

in the space that you actually plan to use your drum pad.

That’s your pro tip.

The third tip we already talked about, it’s to use bright spike tape

to label all of your samples so that your percussionist can see it in the dark.

The fourth tip is to make sure that your symbol stand has its leg

directly under your drum pad.

The direction that your drum pad is leaning and the direction that

your percussionist will be hitting it, you want to make sure that your symbol

stand leg is right underneath that so that it doesn’t tip the wrong way.

Because if you have your drum pad between the gap of the two symbol stands,

it could tip over that direction.

So I like to have one leg right underneath my drum pad to keep balance.

And then the last tip is about mic placement.

So I tried dynamic microphones and condenser microphones

for my percussion setups in the past, and we always landed on a dynamic microphone.

I recommend the SM57, and the way that you want to place it is

right here, angled over the top of the symbol so

that you can shake your shaker into it and your tambourine as well,

and it’ll still pick up your cymbal when you’re doing cymbal swells.

If your drummer is close to your percussionist, then make sure that you’re

pointing the back of the SM57, the butt of the SM57,

towards the drum kit so that it’s eliminating bleed and cancelling out some

of those frequencies coming from the drums.

You want to do your best to isolate the percussion kit

to not pick up all the drums.

Otherwise, it’s just another overhead mic.

And so that is my final tip, is mic and mic placement.

I should probably show you how I’ve set up my stand

and my clamps to hold everything.

I’ve got my symbol stand as my primary stand, and then the boom arm of the

symbol, I’ve split it 50/50 with a little bit more tail sticking out from the

boom arm than you normally would have.

And that way I can clamp my drum pad onto the tail

of the boom arm of the symbol stand.

I know it’s easier to see, so if you’re listening to the audio podcast,

you might want to pop over to YouTube.

But the tail of my boom arm is where the clamp clamps onto to hold this drum pad.

I’ll put the clamp in the description so you can get it easily.

One thing to note is that neither the clamp nor the drum pad came with screws.

So you’ll need normal rack mount screws, rack screws, to screw in the four screws

on the bottom of the drum pad.

I also mounted my percussion table right near the top of my cymbal

stand, so it’s easy to reach.

There’s a big enough gap right here where I can easily have my shaker

and tambourine sitting right there along with my mallet.

That’s how I’ve mounted everything.

And again, if you want to build your own kit, you can use

all the links below this video.

They’re affiliate links, so they’ll support the channel,

and it’ll get you exactly what you want.

And then if you want to download the free samples that I have here,

it even has the file so that it’ll load the correct volumes for you on your kit.

That is also right below this video or in the show notes if you’re listening

to the audio only podcast.

So that is how to build a percussion kit for your worship team.

Now in the next video, I’m going to show you how to actually train your

percussionists to play the tambourine, the shaker, and the drum pad

in the right way at the right time.

So if you want to train a percussionist in how to play and when to play, this

next video will show you how to do that.

You can click it here or below this video.

Like and subscribe to this channel because I’m going to be showing you

how I’m building my ministry from scratch at my new church and showing you

what to do for your ministry as well.

If you know someone who needs to see this video, send it to them right now.

I appreciate it.

Otherwise, have a great day and I’ll see you in the next one.

God bless.