of cool reverbs that I was using, the Blue Sky, in the mix somewhere but live it doesn’t seem big second or third chorus and I’m over there
you can quickly dial up a sound that’s great. to translate, so maybe on second chorus I play noodling with some verb and delay way up
It’s got a really great spring reverb in it, it’s got big power chords or a driving eighths thing just high and there’s no energy to the part that I’m
a shimmer thing which is cool. It’s got a couple to drive the song live. You kind of have to take a playing, then I’m not really serving the song at
really usable sounds that you can access in few stabs at it to see. Usually when we get the that moment. It’s a constant thing that you learn
seconds. I don’t like tons and tons of weird band together to start rehearsing the songs on with experience over time, but it’s a constant
effects, for me it’s almost always verb, delay, the record we can see how they’ll translate live. battle to try and figure out what works live. If
and then finding the right treatment of maybe a I’ll start by trying to play the guitar parts that it means that there’s a part that I love on the
tremolo or vibrato. But mostly it’s about how I are on the record and I’ll end up ditching stuff record that doesn’t make sense live, then I just
can get the guitar, amp, and maybe one boost that’s not really working. I’ll pick the ones that have to be a grown up about it and ditch it and
pedal to really get the tone right and then I’ll do work and then live if we get to some gigantic move on!
the verb and delay thing.
[WM] Were there any whacky ‘only happens
in the studio’ moments?
[Daniel] There was one moment where Chris
and Ed, one of our producers, just couldn’t get
it right when they were working on this one
chorus. Ed took a Telecaster out, plugged it
into a Vox, and suddenly they were like high
fiving. Chris called me all excited saying, “All we
needed was the Tele on the chorus!” So that
was kind of a fun moment. Chris was just over
there doing vocals and they just did it. That kind
of stuff happens sometimes. I was happy to get
to record on a bunch of it, but our producer is a
great guitar player so there were times for him
where it’s like, “I’m inspired, I just have to plug
in and get something down while I’m thinking
about it.” It’s cool to see where his brain is at,
he’s a super talented guy. But no weird down
the hall guitar mic things that I know of (laughs)!
[WM] A lot of Churches use tracks to fatten
things up front of house, but when you start
isolating five guitar parts, figuring out what
you’re going to play start to finish can become
a bit daunting. What is your approach for
combining the best bits and pieces from the
studio into what you’re going to play live?
[Daniel] I think Chris mentioned it a second
ago, it’s finding that one guitar part for the song
that really is the personality of that song. What’s
that sound, that one signature hook or thing
that we need in there. Then sometimes live it
might be like we get to this second chorus and
there’s a cool guitar part that I recorded that’s
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