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Other2016New Day

New Day Amp Settings

by Sound of Light

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Original Recording Settings

EstimatedResearched tone data for "New Day" by Sound of Light

Original Gear

Guitar
Fender American Standard Stratocaster (SSS, circa 2012-2016) — estimated; Telecaster is a plausible alternate
Pickups
Stock Fender Custom Shop Fat '50s or American Standard single-coils (estimated) (neck+middle)
Amplifier
Vox AC30 Custom (30W, 2x12 Celestion Greenback/Blue) — estimated; Fender '65 Deluxe Reverb reissue is a plausible alternate, and a Line 6 Helix or Kemper Profiler modeler is a realistic studio-DI option for a 2016 church recording
Channel
Top Boost / Normal channel, clean-to-edge-of-breakup
Tuning
standard (E A D G B E), likely capo 2 or 4 for open-voicing anthem keys (B or A major)
Pickup Selector
neck+middle
Strings
Unknown (likely 0.010-0.046 Ernie Ball Regular Slinky or D'Addario EXL110 — genre-standard)

Most small-church worship recordings in 2015-2016 tracked through either a low-wattage tube combo miked with an SM57/e906 OR through a digital modeler direct to DAW for flexibility. No documentation exists for this specific session.

Amp Settings

Gain
4.0
Bass
5.0
Mid
5.0
Treble
6.0
Presence
4.0
Master Volume
5.0
Volume
5.5
Settings inferred from genre conventions of modern Christian worship electric guitar circa 2015-2016 (Hillsong/Bethel/Elevation influence). Target is a glassy, chimey clean-to-edge-of-breakup Vox-style voicing that lets pedals (transparent OD, delay, reverb) shape the final sound. Note: an actual AC30 Top Boost has no mid control — the '5' value normalizes to the schema.

Effects Chain

Boss TU-3 or TC Electronic PolyTune 3
tuner
Keeley Compressor Plus (or Wampler Ego Compressor)
compressor
JHS Morning Glory (or Wampler Tumnus / Klon-style transparent OD)
overdrive
Ibanez Tube Screamer TS9 (or Fulltone OCD)
overdrive
Strymon TimeLine (dTape or Digital machine)
delay
Strymon BigSky (Hall or Shimmer)
reverb
Ernie Ball VP Jr 250k
volume
1.Boss TU-3 or TC Electronic PolyTune 3Standard front-of-chain tuner; estimated.
2.Keeley Compressor Plus (or Wampler Ego Compressor)Light compression for swells and even picking dynamics; estimated.
3.JHS Morning Glory (or Wampler Tumnus / Klon-style transparent OD)Always-on transparent boost pushing the amp into harmonic bloom for choruses; estimated.
4.Ibanez Tube Screamer TS9 (or Fulltone OCD)Second-stage mid-hump OD stacked for bridge/climax sections; estimated.
5.Strymon TimeLine (dTape or Digital machine)The defining effect of the genre — The Edge / Hillsong-style dotted-eighth rhythmic delay. Estimated.
6.Strymon BigSky (Hall or Shimmer)Lush ambient wash for pads, swells, and bridge; estimated.
7.Ernie Ball VP Jr 250kUsed for volume swells into verses and ambient pad fade-ins; estimated.

Playing Technique

Pick (medium.73-.88mm), fingerpicked arpeggios and rhythmic palm-muted eighth-note patterns in verses locked to dotted-eighth delay; open strumming with suspended 2/4 voicings in choruses; volume-pedal swells and held ambient chords in the bridge. Tempo ~92-100 BPM, 4/4 time signature, key likely B or A major. Light dynamics in verses building to full strum attack in choruses.

Sources+
  1. Apple Music artist page for Sound of Light (confirmed artist/album/year)
  2. Deezer artist page (confirmed tracklist and songwriters: Scott Alan Cole, Nigel Zamora, Ben Sandstrom)
  3. UBC.org/soundoflight (confirmed band is worship team of University Baptist Church, Houston, TX, led by Ben Sandstrom)
  4. UBC.org article on Ben Sandstrom / Anthem Worship Collective
  5. Shazam song entry 1089841450
  6. Reverb News — Gear, Tones and Techniques of Modern Worship Guitar (genre-convention reference)
  7. Sweetwater inSync worship guitar articles (genre-convention reference)
  8. Premier Guitar worship rig rundowns (genre-convention reference; no entry for this artist)
  9. No direct Equipboard, CCLI gear, or interview sources found for this artist — all gear specifics are educated inferences from 2015-2016 contemporary worship conventions

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