Keith and Kristyn Getty. Image courtesy of gettymusic.com.
In the realm of contemporary Christian music, few groups have made as profound an impact as The Gettys. Hailing from Northern Ireland, this musical ensemble has garnered worldwide recognition for their captivating hymns and innovative songwriting. To gain insight into their journey, vision, and the challenges they face on tour, I had the pleasure of speaking with Daniel Myers. Since 2016, Daniel has been a trusted member of their team, touring as their FOH (front-of-house) engineer and working with The Gettys in various capacities.
Keith and Kristyn Getty embarked on their musical journey with a clear focus on writing hymns that would stand the test of time and become staples in church worship. Their first hymn, "In Christ Alone," became a remarkable hit, setting them on a path to creating music that resonates with people's faith and becomes an integral part of their spiritual journey and liturgy. With their own touring company, publishing house and record label, The Gettys have carved out a unique space in the music world for churches and artists seeking doctrinally sound and worshipful music that truly connects with their congregations. Daniel aptly summarizes their mission, saying, “The point for them is that they're trying to write music that is timeless, music that the Church will engage with and sing over generations. They don't have any interest in writing songs that are popular for a year and then fall into obscurity.”
…everything on the stage is acoustic; we don't rely on backing tracks. What you hear from the PA is produced by instruments on the stage.”
—Daniel Myers, Front-of-House Engineer, The Gettys
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As the FOH and production manager for The Gettys' tours, Daniel plays a vital role in ensuring their distinct sound reaches the audience in the best possible way. He describes their sound as “a cross between Irish folk music, bluegrass and then a lot of other world influences they try to bring in. They'll incorporate gospel music or feature jazz artists from time to time.” I had the opportunity to witness this firsthand at their “Sing! Conference” in Nashville, where a stage brimming with live instrumentation created an immersive and authentic experience. I asked Daniel about this, and he confirmed, “Yeah, everything on the stage is acoustic; we don't rely on backing tracks. What you hear from the PA is produced by instruments on the stage.”
When it comes to gear, The Gettys rely on a variety of setups depending on the nature of the tour. Spring and Fall tours have different requirements compared to their larger and more elaborate Christmas tour. Most of their equipment is sourced from CTS AVL in Brentwood, Tennessee. On the road, they utilize Shure Axient Digital microphones and Shure PSM100s in-ear monitors to accommodate an impressive 11-14 person band onstage. The band can include drums, percussion, bass, keys, guitars, fiddle, mandolin and auxiliary instruments like whistles. In addition to Keith and Kristyn, there are usually at least three background vocalists and on most nights, a choir composed of local singers also joins them. To handle this level of complexity, their console package must accommodate a significant number of inputs. They primarily rely on Yamaha Rivage PM Consoles, ensuring a high-quality audio experience for those onstage and in the audience. These consoles are also easily adaptable to international conference and tour dates, as The Gettys frequently travel to destinations such as Belfast, Singapore and Sydney.
“If the PA is so loud that you can't hear fellow worshippers, then it's no longer a communal experience; it's just watching a show.”
—Daniel Myers, Front-of-House Engineer, The Gettys
When it comes to advancing tour dates, Daniel estimates that it's about a 50/50 split between using their own PA and relying on the venue's existing sound system. He explains, “I've leaned more toward carrying our own PA in most places. But it just varies. If I walk into a church with an excellent PA, I don't always set up ours.” However, for theater shows, he has found it necessary to carry additional equipment, stating, “We tend to rely more heavily on our own gear for theater shows.”
One of the blessings and challenges Daniel faces when mixing their performances is the absence of backing tracks. With a band that predominantly utilizes acoustic instruments, they must adapt and find innovative ways to achieve the desired sound. A significant portion of their shows involves collaborating with local choirs, adding a unique dimension to their performances. This practice presents its own set of challenges, including managing the stage plot, potential sound check surprises, and effectively mic’ing the choir in conjunction with the band. However, The Gettys always find creative solutions. As an engineer myself, who often struggles to achieve a balanced mix between a large band and a choir, I was curious how Daniel manages it all. He explains, “I tend to subscribe to the 'more is better' mentality when it comes to mic’ing a choir. While some argue that one or two mics are enough, I've tried both approaches. The key consideration is gain before feedback. This means getting the microphone closer to the source. The further away I position the microphones, the more ambient sound, including drums, gets picked up in the mix.” Currently, Daniel utilizes Shure KSM137s due to their availability in large quantities from most production companies. He adds, “Almost every production company has a bin of 50 of them, and they work fine for our needs.”
…the band's reaction after a show is based on audience participation rather than ticket sales.
When asked about his favorite aspect of the role, Daniel emphasizes his love for the music itself. Though the job can be stressful at times, seeing the musicianship and watching the congregation engage with the music makes it all worthwhile. He also notes that their shows aren't designed to be excessively loud, stating, “It's not a loud show at all. Partly because of all the acoustic instruments onstage, but it's also a deliberate decision. When it comes to congregational singing, you're supposed to hear the people around you singing. If the PA is so loud that you can't hear fellow worshippers, then it's no longer a communal experience; it's just watching a show.” As for measuring success, Daniel shares that the band's reaction after a show is based on audience participation rather than ticket sales. “When the band walks offstage, their demeanor reflects how engaged the audience was, whether they were singing along and participating. If they felt the audience was truly engaged, then we know we did a good job.”
For church technical directors striving to create impactful worship experiences, Daniel emphasizes the importance of building a strong relationship between the band and the engineer. By keeping sight of the ultimate goal and understanding the unique roles of both parties, they can work harmoniously to create a transformative worship experience.
As The Gettys continue to evolve and push the boundaries of worship music, their unwavering commitment to crafting timeless hymns and engaging audiences has solidified their place in the contemporary Christian music landscape. With Daniel Meyers diligently managing their live audio needs and graciously fulfilling "other duties as assigned," The Gettys are poised to inspire the faithful and leave an indelible mark on the world of worship music.
