That is when it all seemed to come together and make sense for what I wanted to do. I was watching the engineers and producers work, and recalling all of the training I had gotten early on at church. I distinctly remember walking into an actual recording studio for the very first time in my life to record. I also started playing in a band around this time and we decided to go and professionally record a few songs. After high school, I went to college as a music major studying composition and arranging. I played keyboards and several other instruments, so I simply knew that in some way I wanted to create music. I did love the ability to control the audio and sound as I had learned by this teacher at my church, but I had also taken music lessons from a young age. Q: Did you know then and there that this was your calling career-wise?Ī: I knew even at the early age of twelve or thirteen that I wanted to make music, but I wasn’t sure what that even meant.
By the time I was thirteen years old, I was operating the controls by myself and even being hired as the sound engineer for conferences and weddings.
So, for the next several months he taught me everything he could, and each week I would come with my list of questions that I’d thought of throughout the week. Well, I was instantly amazed by how the audio could be controlled and he could see that I was captivated by that. He invited me to watch as he mixed the music that day. A teacher at my church was also the live sound engineer there, and one day I simply asked what he was doing behind that big audio desk during the church service. Walk us through the story of how this came about.Ī: It all started as curiosity more than anything. Q: You first encountered the world of audio engineering at your local church already at the age of twelve. Welcome to a collection of drums that encapsulates the essence of one of the most powerful and uniting forms of musical expression: gospel. If words are the lifeblood of gospel music, rhythm is the heartbeat upon which they thrive. With its four fundamentally different sets of tonal characteristics, this EZX covers the entire scope and paints an impressive sonic image – from the open-sounding tones of the early 1940s and the dry, muffled and tight ones of the 1960s to the punchy, distinct and crystal clear sound of today.Īdd to that the ear and craftsmanship of Danny Duncan – seven-time Grammy Award-winning engineer/producer with a longstanding gospel merit – the breathtaking aura of the Paragon Studios A-room, the magic stroke of drummer Calvin Rodgers as well as custom presets, MIDI, percussion, handclaps, snaps and foot stomps and you have the ultimate gospel battery. With branches arching into anything from R&B and soul to rock, hip-hop and fusion, gospel is the literal definition of width. The Gospel EZX celebrates just that: the power of rhythm and the legacy of a genre whose DNA over the course of history has seeped through to almost any facet of music imaginable. Simply put: rhythm is instilled in each fiber of gospel as we know it. Up until today and ever since the early days, when makeshift kits, foot stomps and handclaps served as rhythm sections in churches, the beat has been central in every syllable, bar and phrase of worship music.
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