[Stephen] Oh well, Nathan Nockels is a [Joel] And on a production level, it sure did my iPad. The whole reason I’ve started doing
wonderful producer. We played drums, we not hurt that we had James Duke playing guitar that is that we have decided to not use tracks
played acoustic, we sang, and all of that is from and Ross Holmes on the fiddle! These guys when we play live. We still use a click, but not
that night, but Nathan Nockels does the work! were a joy to play with on the record… they any backing tracks, so that we have more
He takes it home and he does some really really took us up a notch! freedom. We found when playing festivals, the
great stuff to it. He adds some fun things like
more gear we use, the higher the potential for
organ that we did not do live. That is part of the [WM] Stephen, tell about your Martin D18 and
production process. The idea is that you just your acoustic setup.
capture the guts of the song… the vocals, the
something to go wrong!
We were traveling with Ableton and stuff, which
room… you know, the live recording, and then [Stephen] Yes! It’s great! I have also the LR is great… we love it, you know. But, we really
he just adds some… you know, some pixie Baggs Venue DI, and then I use the Ibanez little simplified this year and decided to just go for
dust. (laughs) pink single delay pedal and the little one-knob a more pure sound and setup. I remember we
Hall of Fame reverb from TC Electronics. That’s were playing a festival with Bethel this year and
Just to speak to that for a moment, he all I run on my acoustic channel. The whole idea literally our track rig was shutting down on us
produced the last record, and going into doing is to get the acoustic sound I want when it runs because of the heat. So, I just killed it and looked
a record, often artists like to work with different through a PA. at the band and said, “I guess we’re going to
people. For us, it’s more like, “Hey, this guy did
have to play music like adults!” (laughs) Man,
a great job for us last time and it’s just going I’ve also been playing keys a lot on the road. it ended up being this really powerful, special
to get better each time.” And, of course, that’s What I’ve started using when touring is a Korg experience where we had all this freedom to
what happened. That’s what I believe – this is a Stage Vintage (SV1) 73-key keyboard. I like to just like press in with the Lord and do some
better record. I didn’t want it to change us (who run a great Wurlitzer sound and a great piano fun, off-the-cuff stuff, and we decided to just
we are), but I did want it to sound like 2.0. sound, and then I run pad sounds directly from keep doing that.
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November 2018
WorshipMusician.com