decide later if they want to dry it up a little bit, I play, so if it’s got a lot of delay on it I might of times his tones and sounds will totally shape
or soak it in reverb, or whatever. So that is a play less notes because it’s going to get too the ideas that he comes up with, and I fully can
trick that happens a lot with producers. But a jumbled up and sound messy. If I have a lot of agree with that, it’s something that I do all the
lot of times I like the way it sounds coming out delay and verb I might only need to play like one time. If I’ve got some really inspired tone pulled
of my pedals so that’s how I’ll record it. Ninety- note for the whole bar, and when the next bar up, then suddenly I’m inspired to play a whole
five percent of the time I’m recording all effects rolls around I’ll play another note, and you let other kind of song. You know, it’s like you might
to tape. I like to know how it’s all going to feel, the verb and delay do the rest. It depends on play differently if you’re holding a Les Paul than
and it really ‘informs’ the part. The tone and the part. There’s something I heard The Edge you may if you’re holding a Strat, I feel like it’s
the sound and the texture, that affects how say in an interview a long time ago, that a lot that different.
[WM] You mentioned using less drive in the
studio than you do live. What else tends to
be different?
[Daniel] Its so funny, I do end up using a lot
of single coil stuff in the studio. I use the Tele or
a Gretsch, and I’ve got a guitar that’s got some
P-90’s in it. We still use humbuckers too, but
the single coil thing is a good easy first rule of
thumb because the frequencies tend to sit in
the mix nicely. That’s why I think the Tele is so
tailormade for tracking, at least for the style that
I gravitate towards.
In the studio I feel like the more I mess around
with things, the more I realize I don’t know.
(laughs) Every time I go to record I think
something is going to sound great, and it might
when you’re standing in front of it, but when
you listen to what the mics are capturing it’s just
not at all what you thought. It’s such a game of
trial and error just finding what’s going to work.
So, there are a few things that always seem to
work well for me, like the Matchless and the
Tele which always seems to record well. The
Exotic RC booster is a pedal I use a bunch in
the studio. It’s just a really easy way to quickly
tone shape. I used a Memory Man pedal a
bunch on this record, the Deluxe Tap Tempo
one that came out a handful of years ago. It’s
nice because you can really get these long trails
for more atmospheric parts. Then the Strymon
pedal I use a bunch for really specific BPM
delays. Walrus Audio makes a cool pedal called
the Julia, which I was using for some chorus
vibrato stuff, just to get the parts to speak a little
differently. BOSS reverb, the RV-5 is one that I
always come back to. Strymon makes a couple
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November 2018
WorshipMusician.com