No. 1082018·worship·7 blocks
Living Hope
The polished worship-pop electric on Phil Wickham's title track — played by session guitarist Casey Moore, not Wickham's touring player. A clean Vox-or-boutique amp bed sits under a dotted-eighth delay and a big plate reverb, with an EHX Micro POG adding an octave-up shimmer to the swells. The verses are pad-like and compressed; the choruses open up with a light boost into the amp. Half-time feel in Eb, about 72 BPM. The atmosphere is the part — the dry tone alone is almost nothing.
Living HopeSignal path · input → output · 8 blocksLive values · Pedalboard
Guitar
Fender Stratocaster
Pickups
SSS
Tuning
neck
Strings
standard
Studio compressor
EHX Micro POG
Vox AC30 / Bad Cat (clean)
2x12 (Celestion)
Shure SM57
Strymon-style dotted-eighth delay
Big plate reverb
Studio compressor
compressor
Peak Reduction
30
Gain
5
EHX Micro POG
octave
Dry
8
Octave Up
4
Octave Down
0
Vox AC30 / Bad Cat (clean)
preamp
Volume
5
Treble
6
Bass
5
Cut
5
Strymon-style dotted-eighth delay
delay
Time
1ms
Repeats
4
Mix
28
Big plate reverb
reverb
Decay
6s
Mix
38
Pre-delay
20
Engineer's note
File 108
The polished worship-pop electric on Phil Wickham's title track — played by session guitarist Casey Moore, not Wickham's touring player. A clean Vox-or-boutique amp bed sits under a dotted-eighth delay and a big plate reverb, with an EHX Micro POG adding an octave-up shimmer to the swells. The verses are pad-like and compressed; the choruses open up with a light boost into the amp. Half-time feel in Eb, about 72 BPM. The atmosphere is the part — the dry tone alone is almost nothing.
— Casey Moore
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