You can even generate a decent suspended cymbal roll with one stick.
Here's the setup that was used this past weekend at the Plymouth Park United Methodist Church (Irving, TX) performance of the Benjamin Harlan cantata, A Candlelight Christmas.
The recent issue of Worship Musician contains an article based on writings from Percussion For Worship (unpublished book).
It was the return of the Percussive Arts Society International Convention (PASIC) to the Lone Star State last week. Attendees to the world's largest gathering of drummers enjoyed Austin's warm temperatures and dozens of concerts and clinics. 
Grover instruments have been a part of "my sound" for over two decades!
Several months ago, Grover released the Roll Ring. Wow! With the Roll Ring, you can lay down a confident thumb roll on the tambourine (with no saliva).
Check out this photo from William Johnson Garcia ! This was William's layout for the North Carolina Baptist Campus Fall Convention from a few weeks ago. 
Here's a shot of a recent setup of mine. I was laying down some 808 kick and handclap with the Handsonic 15 (while playing shaker) on that particular weekend. The Gajate bracket with bass drum pedal is a big help when I need some backbeat tambourine while playing djembe or congas. The trap table lives on my right side so I can access the items with my dominant hand. I have a couple of suspended cymbals on my left so that I can play one-hand rolls while playing something more rhythmically intricate with my right. The tambourines are at the ready on the launch pad (see posting from 4/19/10 on making a launch pad).
Zach defines and clarifies the meaning of worship for the
believer. 
Javier: I started taking percussion lessons at the age of eleven at a performing
arts school in San Juan. I started drumming at church a year later and continued playing music and traveling across Central and South America all through
my teen years. I have a Bachelor's degree in Percussion Performance from the
Conservatory of Music of Puerto Rico and a Master's degree in Jazz Pedagogy
from the University of Miami. My musical training and experience are very
diverse and full of varied influences.
Javier: I love to play the cajon! It's one of the most versatile hand
drums out there. I was introduced to the instrument in Peru a few years
ago and to the flamenco cajon shortly thereafter. First of all, it is very
important to know the difference between the two instruments and the techniques
and applications of each one. I've studied some of this techniques and use them
in playing the cajon in all kinds of musical situations. I also add a hi-hat,
tambourine with a pedal, and shakers to play more of a drum set/percussion part in acoustic and semi-acoustic settings.
Using a combination of hands and left foot (playing the hi-hat in more of an open
hand technique between it and the cajon) allows me to play any kind of pattern
imaginable. You can make this instrument as personal as the sticks you
play. 
Among the hundreds of percussion instructional books available, there are several "classics" of teaching texts. Stick Control is a favorite of mine and the "tape repair job" on my personal copy bears witness to the many times it has been used in my drumming career. For three quarters of a century, drummers have sharpened their skills with this famous educational opus by George Lawrence Stone. Stick Control contains material that can benefit ANY percussionist (drum set player, hand percussionist, mallet player, orchestral percussionist, or drum circle enthusiast). The first nine pages of exercises alone can increase your playing level. Mr. Stone's tome gives variation upon variation of sticking patterns for many basic rhythms. The exercises can be played with sticks on a single surface, executed on multiple surfaces (giving you some ideas for fills), and played with brushes "sliding" the patterns (an idea from drum set great Ed Soph).
Recently I had to play (LIVE) a shaker pattern with my right hand and a cajon bass / slap rhythm with my left. The shaker in the picture worked great...a good timbre and I could give my attention to the cajon without having to think much about the shaker angle. 
Check out the song, "When I'm With You" from the Great Great God CD from Gateway Worship. About three minutes into the song, many instruments (guitars, bass, keys) play a melody in octaves. After a couple of statements of that melody, I bring in the glockenspiel to give the passage that sparkling punch that the bells can deliver.
