Using Loops in Worship Pt. 1

A couple years ago my friend Casey Corum, director of Vineyard Music USA, introduced me to using Ableton Live software and how he utilized loops (pre-recorded tracks) while leading worship. Since then, I've had the opportunity to integrate loops into live worship sets at Houston's First Baptist and I love using them every time I lead or play.   This is just a brief overview of why I use loops, some of the down sides of using them, my personal setup, and also some great online resources.  

Why I Use Loops

Additional Instruments 
The most obvious use of loops is to cover parts of instruments not present in your band.  This is especially helpful if you have a smaller band and want a "fuller" or more "polished" sound.  Often recordings feature instruments that most bands don't have access to (folk instruments, strings, percussion, synths, or electronic drums) that using loops can cover.  

Studio Parts
Sometimes, important parts of songs were created in a studio setting and can be difficult to perform live. Loops are especially helpful when it comes to sequenced drum or keyboard parts.  With the growing popularity of electronic influence in popular music, Ableton can be great to help establish musical style in a song.  

Consistency of Sound 
Once loops are programmed or downloaded, they'll always provide a consistent sound or texture in the song.  Pre-recorded tracks don't make mistakes (as long as there is no user error) and they'll have the same performance every time. 


Freedom for Band Members
Loops can cover foundational parts that are simple or monotonous which can free band members up to be more creative.  Often times, I'll use simple synth or percussion loops that allow the keyboardist and the drummer to cover the more important and/or complex parts in a song.  

Cues and Transitions 
If you use In-Ear Monitors, loops can also allow you to utilize in-ear vocal cues that can facilitate count-offs, song roadmaps, and quick transitions.  I downloaded all my vocal cues from www.loopcommunity.com and they're nice for "silent" count-ins and cues. 

Drawbacks of Using Loops

In-Ear Monitors / Click Track
In order to effectively play with loops it's helpful to play each song with a click track (unless all your loops contain some sort of constant rhythmic part).  Playing with a click can be challenging for some and takes practice.  In-Ear monitors are necessary as well if everyone is playing with a click track.  As I wrote some last week, IEMs can take getting used to as well and obviously take additional resources for a church to purchase and install.     

Reliance on a Computer 
Obviously, computers or software can have issues and if you're leading, troubleshooting on the fly is impossible. Obviously, a software crash is very inconvenient when you're relying on loops for specific parts and click track.  

 Additionally, the very concept of a computer playing a pre-recorded track can be the biggest drawback for some.  The tracks cannot adapt to the feel or natural growth of a song and they cannot improve upon what has already been programmed.  For some, playing alongside a computer is fundamentally opposite of what good musicians have worked so hard to accomplish.  

Designated Musician to Run Loops 
Lastly, in order to run loops live, a musician with an understanding of each song and transition must trigger them in real time.  This usually requires a musician already part of a band to split their focus between playing an instrument and loops.   In order to effectively multitask, it takes some practice and preparation.  Often, drummers are designated to run loops as they are also in charge of the tempo for each song.  However, it's probably easiest for keyboardists to trigger loops as they have free use of both hands.  

My Sunday Setup

For running loops live, I use a Macbook Air as it's easy of transport and loads programs very quickly. I always use Ableton Live, the primary and most powerful software program for running loops.  For audio fidelity, I always send the loops out via audio interface - this also allows me to send separate loop and click tracks (pictured is a Focusrite Scarlett 8i6).  Finally, I prefer to use a KMI Softstep midi controller, which allows me to trigger loops with my feet.  If I'm playing keyboard I'll often use the KMI QuNeo for triggering.  

As pictured, I've integrated my guitar setup alongside my loop setup.  For guitar processing, I use the Avid Eleven Rack which features both amp modeling and guitar effects.  I also use a midi controller for preset and effects switching with the Eleven Rack and an expression pedal for volume and continuous control of effects parameters. (Pictured is a Rocktron MIDI Mate and Roland EV-5). 


Online Resources 

When I first started running loops, online resources and information was fairly limited and unorganized and most of what I learned was through friends or trial and error.  Now, the popularity of using loops in worship has grown and along with it, the amount of helpful resources and websites.  

One of the best sites for learning how to setup rigs and sessions in Ableton is LOOP COMMUNITY.   They've made so many great videos and have free resources, I can't recommend them enough.  

Another great resource is MultiTracks, where you can download the original master tracks of a lot of popular worship songs in several different keys and even customize your mix.  
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This is obviously just a brief overview of my thoughts on using loops in worship.  I enjoy electronica music in general and I enjoy programming and experimenting with new sounds.  For some, learning a new software, creating a new rig, and trying to make it work on Sunday may seem like extra work (it is!). 
 However, if you're interested and want to learn more, feel free to message me or comment as I'm always willing to give advice! Next week, I'll talk more about how I setup a session in Ableton Live for running loops during a service. 

REPOST: Learn the Nashville Number System

A few months ago (long before I started this blog), I wrote an entry about the Nashville Number System for my friend and fellow worship leader Stephen Smith.  Learning the NNS is a great tool for any worship leader/bandleader and I decided to revisit it here on my blog today.  Stephen dishes out some great thoughts and advice so check his blog out!  (www.stephenandstar.com)

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You should learn the language of music.  For hundreds of 
years, smarter people than me have been writing about music and creating terminology in effort to talk about a purely aural experience.  This field is called “Music Theory”. I’m not here to ask you to go back and get a degree in Music Theory (I’m a huge nerd so that’s basically what I did).  

However, I AM asking you to learn a simple concept called “The Nashville Number System”.   The system’s roots are found in classical music theory, and as the name implies, it was first utilized in Nashville in order to facilitate efficiency and creativity in recording studios.    If you learn it, you too can facilitate efficiency and creativity in your rehearsals and times of worship.  


Every song you play is in a key and each key is made up of only 7 different notes.  

For simplicity sake, let’s use the key of C Major.   Here are the notes in said key:

C D E F G A B

If you’re playing in the key of C, you’ll most likely play a C chord,  an F chord, an A minor chord, and also a G chord.  The Nashville System gives a number to each chord used in any key.  For example, the C major chord will be called “1” and the F chord will be called “4” and the A minor chord will be called “-6", as seen below, etc.

C   Dm Em   F    G   Am Bdim
1    -2    -3     4   5    -6    7dim

This is the fundamental concept of labeling chords using the Nashville System.  As you can see, we use a minus sign “-“ to denote a minor chord (flat third) and “dim” for a diminish chord (flat third and flat fifth).  If you want to know more about what a “flat third” or “flat fifth” really means just Google, “Chord Theory”.  

For practical application, it’s best to start by learning all the 1, 4, 5, and -6 chords, in several keys as these are most commonly used chords worship music.   Here’s a list: 

1 4 5 -6 Chords 

Key of C :  C   F  G  Am
Key of D:   D   G  A  Bm
Key of E:   E   A  B  C#m
Key of G:   G  C  D Em
Key of A :  A  D  E F#m
Key of B:   B  E  F#  G#m

For chord inversions or “slash” chords such as C/E, we simply write it as 1/3, (You can say “one over three”).   

For some more practical application let’s take a really common chord progression is C  |  G  |  Am | F (“With or Without You” aka “Blessed Be Your Name”) and with the Nashville System we could write it as: 

C    G   Am   F  
1    5     -6     4 

One of the primary benefits of the Nashville system is the ability to transpose songs to a different key very quickly.   We can easily plug in the numbers and transpose “With Or Without You”/”Blessed Be Your Name” to the key of A Major.  The progression would then be:  

Key of C:     C   G   Am    F
Numbers:    1    5     -6    4 
Key of A:     A   E   F#m  D

This comes in handy if you’re a guitarist and use a capo or if you’re just wanting to find an easier key to sing a song in.  

Another benefit of the Nashville system is being able to quickly communicate chord changes to your team.  Numbers are easier to understand in a loud rehearsal and you can also throw up some hand signals to let your band know which chord you want to go to next (especially helpful at the end of songs). 

Things to practice: begin thinking of chords as numbers while you play, memorize the list of chords above from common keys, transpose as many songs as you can into several different keys, learn which notes are flats or sharps in any given key (called Key Signatures or Circle of Fifths), learn how chords are built, if you play guitar, practice a song with a capo in different places or without one, and finally, teach someone else the system once you get the hang of it.

In-Ear Monitors: How to Get a Good Mix

Took a week off - back in the practical saddle again! 

I want to give a few tips about In-Ear Monitoring (IEM) mixing this week.  

 A lot of churches have switched from floor wedge speakers to In-Ear systems in order to cut down on stage noise (giving the sound engineer more control and flexibility for front of house mix).  Additionally, with the popularity of the Aviom system, musicians are able to create their own custom monitor mix.  

In-Ears can take some getting used to and getting a good mix can be challenging at times.  Obviously, the number one goal is to be able to hear yourself, but in order to achieve the "live" feeling that you may be used to and work together as an ensemble, it's nice to be able to hear others as well.  

To try and help church musicians I've created a short, step-by-step process that I've found works best.  

1.  Plug into the monitor system.  (Don't start turning things up before you listen to your mix!)

2. Make sure the master volume is around noon or one o'clock and all EQ at noon.  

3. Bring up your instrument or voice to around 50-75% or until you can hear it comfortably

4. Turn everything else all the way down

5.  Play through a song and bring up other instruments only if needed and just enough for you to hear them

6. Save your mix! 

The truth is, it may not be necessary to add some of the other instruments either because you may not need them in your mix, or you may be able to hear them live due to proximity and/or stage volume.  

Panning 

For additionally clarity, it's helpful to pan instruments left and right especially if there are multiple players on a similar instrument.  Generally, it's good to have your own instrument "center" or not panned along with the bass and drums as they're the rhythmic foundation.  However, it can be beneficial to differentiate between two acoustic guitars or two keyboardists by panning them left and right.  What's also helpful is experimenting with varying degrees of panning in order to achieve even more differentiation.   

Bonus Tips

Get good, isolating In-Ear monitors.  Isolation will cut down on the amount of stage or ambient noise you hear and allow you to have more control over your mix.  Custom molds are best as they are designed for your unique ear shape.  

Use BOTH ears all the time.  It can be tempting to go "one ear in and one ear out", especially if you sing.  However, using only one monitor can lead to permanent hearing damage as it encourages higher sound levels.   To achieve the sense that you are hearing your voice "live", some systems allow you to add reverb to your voice or you may want to add an ambient mic(s) in the house.  

Turning down is more effective than turning up.   If you're having trouble hearing yourself, turn something else down!  Turning a channel up can often begin chain reaction in which everything keeps getting turned up.   Once you begin to turn others up, it may inhibit you from hearing yourself and can lead to an extremely loud, unhealthy In-Ear mix.  
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Finally, it's important to realize that your instrument or your voice won't always sound exactly the way you want it to through IEMs.  Realize that your comfort and personal preference are secondary to the overall mix and be confident in your sound and your playing.  Lastly, speak with the sound engineer only if you think something is really wrong with your system.  

I hope this was helpful for you today!  Feel free to add comments, ask questions, or share from your own experience.  Thanks for reading.  

Don't Be Boring: Musical Development Pt. 1

Last week I posted some advice for worship leaders on how to have an efficient and productive band rehearsal.  This week, I'd like to continue the discussion of musical preparation by talking about musical development.

Musical development pertains to how we play a song - seeking to go beyond just executing the right notes and rhythms.   It encompasses all aspects of music and it is the means in which we cultivate interest and emote responsiveness from those listening.  Through musical development, the main ideas of a song are communicated, transformed and repeated.  

Below, I have listed several of the "tools" we use to create a sense of growth or development. Many of these may be very intuitive to you or your team and hopefully you already utilize them.  However, it's your job as bandleader to make sure that each of them are being used appropriately and if necessary, to give specific instruction.  

1. Dynamics

Photo Credit: Flickr Khalil_Gamela

Dynamics is simply how loud or soft each instrument plays.  For praise and worship music that would fall into the pop/rock genres, dynamics is one of the most essential elements for development.    

Dynamics can pertain to both individual players and the band as a whole.  As a group, it's important to stay together dynamically - to build and soften at the same time.  It can be helpful to be very specific about where you want a dynamic change to begin and end.  
Individually, each player must know what the appropriate dynamic level is for their part.  If someone is playing a lead or "signature" part from the song, make sure they play out. If someone is in a supporting role, make sure they don't overstep the vocalist or lead part.  (Obviously the sound engineer can control this as well, but it leaves less room for error and is more fluid when musicians temper their own dynamic)  

Before you rehearse, think about what the dynamic goal of each song is.  Where do you want the highest and lowest point to be?  When should there be subtle or obvious dynamic changes?  Don't be afraid to give specific instructions during a song and to outline the overall dynamic roadmap beforehand.  In traditional music terminology, Italian terms are used such as: Piano (soft), Mezzo Piano (medium soft), Mezzo Forte (medium loud), Forte (loud), and Fortissimo (very loud) to give specific dynamic instructions. These terms may sound weird to use in a band setting, but the more specific you can be the better. 

I've found that it's easy to get excited and reach maximum volume quickly, so I often have to hold back or tell my team to "save" some volume for later in the song so we have room to build.  

Additionally, you should plan dynamic development over the course of an entire set and this should also be approached in a way that creates growth and keeps interest.  

2. Texture

Photo Credit: Flickr bwise

Texture is the combination of instruments playing at any given point in a song. Textural change occurs by adding or taking away instruments and it's undoubtedly the easiest and most powerful way to create musical development.  

As you prepare for rehearsal, think through significant textural changes in each song .  The most obvious and powerful change will be adding or taking away drums and bass.  If you're leading with an instrument, look for appropriate times not to play.  Even if you're just singing, don't feel like you have to sing or say something throughout an entire song.  

One of the most common pitfalls for a band is lack of textural diversity.  The reason being is that immature musicians believe it's necessary to play throughout an entire song.  It's easy to feel like you always need to contribute and find something to add.  However, by never resting you are allowing the listener to take what you are playing for granted.  If you never rest YOU are inhibiting textural change.  

Ask yourself questions beforehand - Where should the "thickest" and "thinnest" textures be?  When should there be subtle or obvious textural changes? How true do I want to stay to the original recording from a textural standpoint?   

Don't be afraid to give specific instructions before you rehearse a song and to outline the overall textural roadmap beforehand. 

3. Timbre

Photo Credit: Wikipedia

Helping your instrumentalists find the appropriate timbre (pronounced "tam-ber"), or sound for a song is also part of the musical texture.  Timbre is what helps establish the style and overall feel.  Timbral changes are created by switching instruments, sounds, or effects and this can be helpful in musical development.  For some church musicians, finding and using the right tones comes very naturally.  However, for those who haven't previously been involved with church music or aren't as familiar with the types of music you play, this could be more of a challenge.  

Use timbres that support the vocals
Obviously you don't want instruments to distract from the words that are being sung.  When in doubt, it's better to remain subtle and/or out of the way (this is somewhat dependent on if you're playing a lead line or just a backing part).  

Use timbres that complement others
This is important especially if you have a large ensemble.  When selecting the right tone, it's important to listen and be mindful of who you are playing with.  For example, if I'm playing electric and the other guitarist is pretty reverb/delay heavy, I'm definitely going to keep my tone pretty dry.  Or, if I'm playing acoustic and the other musician is capo'd up high, I'll probably stick to first position chords.  

Use timbres from the original recording
The best place to start when selecting a patch, effect, or tone is the recording you're basing your performance on.  This will save you a lot of time and work trying to figure out what will fit best.  

If I'm planning on doing something different than the recording, I may give specific instructions to players as to what sounds to use.  For example, if I'm playing a more acoustic, stripped down version of a song, I might write something like, "Acoustic guitar and pad only".  
  
Some of these things I have listed may seem trivial and others very obvious.  However, it's important to be familiar with the textural and timbral aspects of each song as they create subtle changes that have significant impact on the mood and style.  

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In this post I didn't even touch on musical development in harmony, rhythm, and melody (the essential elements of all music).  However, the things I have discussed today are undoubtedly the most important aspects for you to focus on with your team beyond actually playing the right notes and rhythms.  

Remember, you don't need to micromanage your team, but you do need to be able to provide leadership when necessary.  Lastly, listen to the songs you've selected this week with a critical ear and prepare yourself and your team for rehearsal.  

Once again, I hope this stuff is helpful to you all.  
Feel free to provide feedback and share your experiences.  

Guitar Tone Series: Modelers Demystified

       I’ve been almost exclusively using amp modeling and multi-effects units for the past year for both acoustic and electric guitar processing. I know that a lot of people have bad experiences with amp modeling and may have quickly discounted them after the first impression.   There's also been a big push for analog gear over the past few years, perhaps as a reaction to the growth of digital technology.  I’m not here to say that modeling is superior or inferior to a traditional amp setup, but instead I want to share what I perceive to be the pros and cons of using amp modeling for live performance. 

CONS

1. Not plug-in and play 

The great thing about an awesome tube amp is, you can plug any guitar in, crank it up, and it's going to sound pretty good with only minimal adjustments.  However, an amp modeler is NOT an amp, it will NOT respond the same way as an amp, and it may take a lot of work before you get a good sound.  The issue is, most modelers have similar looking controls but rarely do they react in the same way as analog amps or effects.  Additionally, the learning curve just to figure how to accomplish basic "tweaking" and creating presets can be a turn off for guitarists.  

2. You can't swap out components 

One of the great things about having a pedalboard or an amp is that you can easily swap and switch stuff out.  (The endless possibilities only feed the GAS).  With a multi-effects unit, you're stuck with what you got unless you want to run additional pedals along with it.  With an amp modeler you can't really add your own NOS tubes or favorite broken-in speaker.  You're pretty much stuck with whatever has been programmed into the unit. 

3.  You're at the mercy of the system and the sound engineer

Your tone is only going to be as strong as the system you're playing through and how well the engineer mixes.  If you can't rely on one or the other, it's better to have a nice amp on stage with you as your monitor and a reference on how your tone really should sound.  

4.  Choices are limited

At this point in time,  the choices for analog amps and effects far out weigh the digital.  There are so many great amp makers and boutique pedal builders that are making nicer and nicer products that it's hard to keep up with everything.  Conversely, high quality digital gear is released and improved upon at a much slower rate.  

5.  It's still not the "real thing"

When it comes down to it, amp modeling is still just trying to emulate amps and the effects that were digitally captured.  Obviously technology is progressing quickly and has allowed the replication to become more and more convincing, but if you know what works well for you, why try to substitute it for a simulation?

PROS 

1.  Consistency
The great thing about amp modeling is that once you've found or created a usable sound, it's always saved and will sound exactly the same.  Wherever you plug in, it will react the same way and you don't have to worry about making sure your effects are set the same and that your amp is properly mic'd.  Your tubes will never die and your speaker will never get blown out.  You won't have to trouble shoot if there's a bad cable, bad connection  or glitchy pedal in your signal chain either.  Additionally, you can create specific presets for specific songs and instantly recall them on the fly.  

2. Portability 
One of the great things about amp modeling is that you can have LOT more sounds in a much smaller unit.  Whether you're using a floor or rack unit, you're gear is going to be a lot lighter and you'll have to carry around a lot less.  Also, this is conducive to quick setup and tear down times as well as taking up less space on stage if things are getting crowded.  

3.  Live flexibility 
For electric guitar, I enjoy switching between 3 separate amps set to different levels of gain rather than relying on overdrive pedals.  I also enjoy have an acoustic patch setup with EQ, compression, reverb, and a volume pedal.  With modelers, I can easily switch between amp heads for electric and if I want to play acoustic, I can use the same unit for that as well with the press of a button.  As I mentioned earlier, it's really nice to be able to instantly recall presets for certain songs with saved BPM and effects or presets for different instruments. 

4.  Cost 
Obviously, there are various modelers at various price points.  However, even the most expensive of units will most likely be cheaper than buying a high end amp and pedals.  If you look into used or discontinued digital units, most of the time the price is even lower.  

5.  For most, it's close enough
This is the hardest one to swallow because I would like to think that I have a pretty discerning ear when it comes to how a guitar sounds.  However, it really is getting harder and harder to figure out what's digital and what's analog in both live concerts and in recordings   For the common person, I believe that the difference is pretty much indiscernible, especially if you're running through a nice sound system and you're playing with a full band.   Again, creating or finding a great sounding preset is the key to all of it.  


        Finally, the most important question is when deciding what equipment to use is, "What's the best tool for the job?".
 For me, modelers are the best choice for what I do at Houston's First. Thankfully, I've been able to get some great patches dialed with the help of my friend Michael Brady (who first recommended I try amp modeling) and the sound engineers.
On Sunday, I alternate between electric and acoustic guitar and I travel between two different campuses.  Additionally, we never have amps on stage, always run In Ear Monitors, have a great production team that always mixes well, and have good sound systems at all campuses.   With all these factors in mind, using amp modeling allows me to set up quickly, be flexible, not worry about my sound, and be able to focus on what's important.  

I hope this stuff is helping!  Please add comments, ask questions, and provide feedback. 
You can also email me at thesamjones (at) gmail (dot) com 

How to Get Great Guitar Tone

If you play guitar, there’s nothing quite as satisfying as hearing some really great guitar tone. I know there’s a tremendous amount of interest when it comes to gear and playing guitar, especially among church players.

So with that in mind, I’ve compiled just a few things I think guitarists should consider in the never-ending pursuit of good tone. 

1. EQ your rig to sound best with a band

Cranking the bass so that the walls shake when you play rhythm might be fun, but it’s going to sound muddy and overbearing when you’re playing with a full band.  Conversely, your super twangy blackface amp might sound great at home, but at high volumes it might not sound great or sit in the mix well. Finding the right midrange EQ setting is really the key, and though it might sound weird when you’re playing alone or at lower volumes, you have to think in context of the entire group and at stage volume. 

2. Collaborate with your sound engineer

They’re the ones that have the final say on your tone, so if they ask you to make a change you should do it.   If you hear them tweaking your EQ right after you plug in, find out what they did and try to accomplish that on your own.  Ask them after rehearsal or a service if they have any suggestions on how you could fit in the mix better, especially when it comes to EQ.   

3. Listen to your rig through the house

You might love the way your setup sounds at home or even through your monitors, but you’d be surprised how different it may be through a cranked PA system.  Have a friend play through it while you walk around the room.  Also, all that delay and reverb might sound good in monitors but not be so helpful if the room is really live and you’re playing with a large band. 

4. Tone is in the hands, the strings, and the tubes

Before you go out and buy the latest pedal to “improve” your tone, just remember; practicing will always make you sound better, changing your strings will make you sound better, and installing good, fresh tubes will make you sound better. 

5.  Get clean power

What doth it profiteth for a man to have an amazing rig if there’s a nasty hum when it’s mic’d up?  If you run a lot of pedals, always get quality, quiet power supplies, make sure everything in your rig is grounded, and if necessary, use a noise gate. 

6.  Tune, tune, tune, tune, TUNE

What doth it profiteth for a man to have an amazing rig if he’s playing out of tune?  Get a good tuner (I prefer the Turbo Tuner - www.turbo-tuner.com), have your guitar set up well so that the intonation is correct up and down the fretboard, always tune again if you add a capo, always tune UP to pitch, and make sure to stretch your strings whenever you change them.

8.  Strive for consistency

I love to tweak my settings on all my gear and I also love to integrate new stuff into my rig, but the truth is, good tone is hard to find, so once you get it RESIST THE URGE TO CHANGE IT.  (Consistency is one of the benefits of modelers and why a lot of touring bands use speaker emulation for front of house.)  Save your presets, mark the sweet spot where it sounds best to mic your amp, take a picture of your pedal board/guitar/amp settings with your phone, tape stuff down, mark your settings with sharpie, etc. etc.

9.  Don’t get stuck on brands and fads

This is the hardest one on this entire list.  Guitarists have built in “gear acquisition syndrome” (GAS) because so much cool new gear is being released all the time.  I’m not here to preach about consumerism or coveting thy neighbor's latest Delay pedal, I’m just here to help you have good tone. 

The truth is this, there’s tons of professional guitarists that have been making great sounding albums and play professionally that have never kept up with the latest and greatest gear.  I will refer you back to #4, as some things really don’t make much of a difference (like a new pedal) and also to #8, if your rig sounds great, DON’T CHANGE IT.

When it comes to brands, there’s just so much boutique stuff out there but I would say that just because it’s more expensive or hand-made does NOT mean it’s going to be better sounding or better quality.  Some companies can charge less because they mass-produce and some companies are made up of one dude in his garage and he’s going to charge a lot more.  The dude in his garage isn’t always going to make a better product than the well-established company. Also, just because a brand gets popular does not mean it’s better than other well-established brands, everyone just likes to try out or least talk about the latest things.

Finally, It’s important to use your ears and NOT your eyes when it comes to evaluating tone.  Just because something looks cool or you’ve read that it’s cool, does not make it better than something that is not being raved about online. 

In closing, getting good guitar tone is a skill.  You cannot acquire a skill by reading a blog or message board post, a review, or watching a video.  You must practice, you must consistently seek to get a fresh perspective, you must talk with other people who have good tone and you must not be afraid to use what you know works well.