Mary Claire Photography
As far as what I’m thinking about, you know, That’s something that I’m always aware of I’m just doing some sixteenth notes on the root
live I tend to play. I’ll dig in harder with my pick and something that I trust our producers to notes. I might hop up to the two at some point,
or I’ll grab the neck harder. I would say it’s keep an eye on. The other thing would be but basically, I just wanted to match the drum
just a little bit more wild. Where in the studio, the temperament or vibe of the song, you pattern, just to add some intensity leading into
sometimes it just means you’re out of tune if don’t want to play something that doesn’t that second chorus. That’s an idea that I use a
you do that. In the studio while you’re trying to match. If it feels like a really reverent worship lot live, when I want to play something that adds
play passionately and from the heart, you also song that’s very intimate or holy, then I want some personality or intensity but I don’t want to
want to play in time and in tune. A lot of times to play something that feels appropriate. If it’s play a bunch of notes all over it. So sometimes
I’m thinking about the intonation and the way something that feels really celebratory then I I think more rhythmically or texturally and that
it speaks, and that’s the trick in the studio. It want to play a little more. It’s finding the right way I’m able to add my piece without spraying
always blows my mind the way things translate textures with the effects pedals and finding the notes all over the place.
in the studio, you always think one thing is going right tones to make sure that you match the to work and it never does. Then something you personality of the song. So, the personality of [WM] When you started off recording it was
don’t think will work well will surprise you. In the the song, what it’s saying, the lyrics, and the in the era of not using any time-based effects
studio I’m trying to learn to stay calm and pick vocal, are what I’m basing that on. when going to tape. Now so much of a worship
the strings intentionally to get the right tone, but
guitar player’s sound is in their pedalboard.
not so hard that I’m squashing the note. You [WM] Just before the second chorus on “Holy can kind of choke the note out in the studio if Roar” it sounds like you take the guitar up the you’re playing too hard. octave, it’s wonderfully subtle, but provides a [Daniel] Yeah, that is a little tricky. On the
lovely lift going into that chorus. What advice one hand, it really is nice to do go more dry to
[WM] A moment ago you mentioned finding do you have on toggling your focus between tape and then let them do the verb and delay
the part that doesn’t ruin the song. What do you supporting and stuff after the fact. And sometimes the
focus on to make sure that doesn’t happen? happening with the lead vocal? [Daniel] Obviously, the vocal is the main [Daniel] The verses on that song feel so good, and delay?” And it’s the same idea it’s just a
thing, you don’t want to be stepping on that. I love the way the energy steps up on verse two. different way of getting there. Then they can
the
arrangement
and
what’s
How have you approached this over the years?
producer will ask for that, like, “Can you do all
of that again, but this time kill all of your verb
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November 2018
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