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althoughofcourse asked: This is more a question for Teppei after that studio video. My musical interests have sort of gone with the progression of your band (which is why I still love it so) and i'm getting rid of my Mesa Dual this weekend and picking up an AC30cc2x. How do you get such a good variety of tones from it? And tones that both sparkle and bite like some of your old sounds? Thanks, all of you dudes, for being such a good influence and great people.

I’m gonna start off with a bit of a rant: 

It’s surprising to me how many guitar players don’t understand the importance of themselves as part of their tone.  Folks, the way you play has a HUGE effect on how your tone sounds.  Your equipment is only part of the equation, not the equation.  I was talking to Dave (our producer/engineer for the record we’re working on) about this very subject the other day and he told me a great story about engineering for a band and how the guitar player just couldn’t get a part right.  He handed the guitar off to the producer who just happened to be an amazing guitar player and the sound of the guitar changed completely.  All of the sudden it was brighter, more articulate, more exciting.  He handed it back to the guitar player and in Dave’s words, “in comparison, it sounded like he was playing with oven mitts on”.  We agreed that equipment in only 50% of the sound.  The other 50% obviously being the guitar player.  Without you, a guitar is just a piece of wood with strings and magnets and an amp is just a piece of wood with resistors and bigger magnets.  I’ve seen guitar players wanting a heavy tone and just barely strumming the guitar because they rely so much on the (in my opinion unusable) amount of high gain on their amp and to me, it just doesn’t sound aggressive.  If you want your sound to be big and aggressive, you have to play big and aggressive.  My tones are generally fairly low gain.  I play really hard when I want something to sound aggressive or heavy.  I get asked a lot about what I’ve learned or how I’ve evolved as a guitar player over all these years and I’d have to say it’s this - that I am 50% of my tone and guitar playing to me at least, is ALL about feel, not technicalities.  

On to the question:

I think one of the beauties of tube amps is that they respond to your playing - especially non high gain amps like the AC30.  Even without changing any settings, you can get it to sound clean or gritty just by the dynamics in your playing.  My settings are simple (it has to be - there’s only 4 knobs).  I go into the brilliant channel, crank it to about 1:30-2:00, barely any treble, probably 9:00-10:00 (since AC30’s tend to be really bright in the first place), bass maybe around 2:00, cut knob off.  To clean up, I either back off my playing or use a volume pedal to cut output from my guitar.  If I need a little boost I may use a compressor pedal but like I said in the video, VERY minimal.  Just enough to give me a small boost.  You don’t really want to hear it much, it’s more of a feel thing.  If I really want a boost, I’ll use a distortion pedal but very minimal on this as well.  I’ve got a Tubescreamer clone that I built from General Guitar Gadgets that I really like.  That’s it.  

- Teppei

psyckomyke asked: What is the time signature for Firebreather?

Verses are a cycle of 4/4 4/4 3/4.  Or I guess you could say it’s in 11/4?  

- Teppei

Second installment of ‘in studio’ videos

Thrice Studio Video - Dustin’s Guitar Rig

The first in a small installment of in-studio videos.  

Teppei’s guitar setup in the studio.  

*edit: I say A standard but I meant drop A - as in drop tuning a baritone just like you would drop D for a regular guitar.  Duh.  Sorry I’m a quiet talker as well.  - Teppei

Due to the overwhelming amount of gear questions we’re receiving in our ask section as well as the enthusiastic replies from Dustin’s tweet about the possibility of a gear video, we’ve decided to make some short clips of us sharing our current studio setups.  Gear dorks be forewarned - our setups are fairly unremarkable.  We have kept it fairly simple.  Anyway, ask and ye shall receive…

aaronms asked: My question if for Teppei and Dustin, I've wondered for a long time now how you guys get the tones you do for songs like "Daedalus" . The guitars sound so crisp. Also what pedals, if any, would you recommend to get nice overdrive/distortion tones on songs like "All The World Is Mad", and "At The Last". Thanks for adding this question section.

I believe Daedalus was something like this: ‘64 Fender Jaguar/BYOC compression pedal? (if so, suuuuper minimal)/some sort of reverb pedal/AC30.  

We don’t use any overdrive pedals for distortion, maybe on very rare occasion to give a little boost but we let our amps do the breaking up.  For me, my 335 (All the World is Mad) and Tele in the middle position (At the Last) played through the same AC30 mentioned above paired with a blonde Fender Bassman and I think Dustin’s tracks for both those songs were his AC30.  I forget what guitars he used.  

jefftmack asked: It looks like you are back to overdub style of recording (I believe you recorded live for Helter Skelter). I know there are benefits in both styles of recording, but I am wondering if there is something that you have always wanted to try in recording a new album. Not necessarily recording techniques, but maybe something that pushes the envelope? Similar to Foo Fighters and recording in Mr. Grohl's garage...Thanks Jeff in Boulder, CO

We are doing a majority of the instruments live (playing together instead of individually) this time.  We also did this for Vheissu.  Both volumes of Alchemy Index and Beggars were done in our studio overdub style like you mentioned (which is the norm nowadays).  I’m not sure what the Foo Fighters thing is that you’re referring to, but our “studio” is really just my garage sound-proofed.  

Teppei

Studio Update | 5/4/11

We’ve got the day off today as the studio had pre-booked some other thing for the day.  Things are going great.  Riley is ripping through drum tracks like a champ and things are sounding really sweet.  It’s been a completely different experience all together for me not having to be engineering this time ‘round.  Definitely a huge weight lifted off my shoulders.  It’s really nice only having to worry about playing my guitar.  Ed and I have tracked all our parts live along with Riley which really helps in capturing the energy and vibe of each song.  Dustin’s doing some last minute lyric work.  

As some of you may have noticed, we updated the website and moved some stuff around on the backend to make things easier for us to keep this updated while we are in the studio.  There’s still a comments section, it just won’t be going through the same platform (it’s now going through Disqus).  You can follow these updates through your tumblr dashboard if you’re on there - just follow us at officialthrice.tumblr.com.  You can also subscribe via RSS feed (link in menu bar).  Finally, we’ve opened up an “ask” page where you can submit questions.  We’ll comb through questions and select some to answer some here.  Thanks for checking in.

Teppei

Bamboozle + Hoodwink 2011

We just got back from our little trip over to NJ.  Hoodwink was a lot of fun (we covered Hot Water Music) and we snuck a new song into the set for our Bamboozle set.  It was kinda nice getting a live perspective on at least the one song before we head into the studio in…oh, less than 24 hours.  Anyhow, the crowd was fun, we got to see some dear friends and had some great hangs.  Not much more we can ask for.  So as you’ve probably figured, day one of tracking starts tomorrow morning and we will do our best to keep this thing updated.  Until then, here’s a couple snaps I took from the trip. 

Teppei

(this last photo courtesy of our tech and my asian doppelganger, Ping)

readysetgo

        

—readysetgostudiorecordingbamboozlehoodwinkshows—

The new record is good to go and studio bound!!!

The last few weeks we’ve been practicing extensively, not just for the record, but also for our upcoming  Hoodwink (4/29) and Bamboozle (4/30) shows

 (Hoodwink: we’re covering Hot Water Music!!! (hot damn!) 

It was a lot to wrap our heads around at first… HWM isn’t the easiest band to just go ahead and learn whilst working on the most intense part of writing a record, but we were up for the challenge and it’s working out awesome. Hot Water Music had always been a huge influence on us as people, touring friends, and of course amazing musicians/performers

It’s an honor to be able to honor them  :D

As far as the final stages of writing goes, it’s been intense, but good intense… we have really been trying to be observant of flow, tempo, key, dynamics and the storyline of the song. This has meant multiple key changes, tempo changes, and adjustments to dynamics that change mood, flow and synergy between instruments. The past few days specifically we’re working out the details/possible overdub sounds/harmonies/and so on. It’s great,  we’ve been trying out all the possible options.

All these adjustments sometimes this means coming back to the practice space the next day and being totally confused as to where we were last where. Thanks to pen and paper and some rough recordings we can pick up solidly where we left off.

                             

We will be going into the studio working with Dave Schiffman (who worked with us on Vheissu (eng.) and Beggars(mix)) starting the day after we get home from the east coast shows. 

Can’t wait… I’m excited to get these songs tracked and out to you guys soon. Thanks to all who have been patient. Soon… SOOOOOON!!!

MUSICS! 

Ed

NOTES & NOTES & NOTES & NOTES

Spaghetti, spaghetti, spaghetti, spaghetti.

(That’ll only [kind of] make sense to those of you that are/were fans of the Chapelle show.)

We spent most of today’s studio session listening to the most recent round of revised of demos we have in our possession, and finding ways bring these songs to a more “finished” state. It’s happening. We’re also getting close to nailing down a date to start recording which is (to me) equal parts inspiring and daunting. The second you have to let go of songs and commit them to tape (or ones & zeroes, depending on your recording platform) is always a source for mixed emotions. We’re all excited about stepping into that part of the process, however.

More updates and photos to follow.

Thanks for reading/following/caring.

-Riley

So…
We had a pretty amazing weekend.
On Thursday, we played SOMA in San Diego, for what might seem like the hundredth time, but in doing so after a six month break from playing shows, and with our super amazing and very good friends in Circa Survive, it it was a really special experience. Then, on Saturday, we played with Circa Survive again at MusInk and had one of the most awesome hometown shows in recent memory. Compound that with winning the OCMA for Best Alternative Band (which we didn’t find out until moments before we went onstage at MusInk, despite our pre-taped acceptance speech that aired at the awards), and the fact that March 6th was 10-year anniversary of the release of our very first LP, Identity Crisis, on SubCity Records, and it made it a pretty phenomenal weekend.
We couldn’t be more thankful.
So now, we’re bearing down and trying to turn a slew of ideas from four brains with very different tastes in music into what we think will be a cohesive record. It’s happening. Slowly. But it’s really happening. Thank you all for being patient, and we hope you know that once we get this thing/record ready to commit to tape/digital media, it will be the truest and most honest piece of tunage that the four of us can agree upon/come up with.
More updates to come…
-Riley

So…

We had a pretty amazing weekend.

On Thursday, we played SOMA in San Diego, for what might seem like the hundredth time, but in doing so after a six month break from playing shows, and with our super amazing and very good friends in Circa Survive, it it was a really special experience. Then, on Saturday, we played with Circa Survive again at MusInk and had one of the most awesome hometown shows in recent memory. Compound that with winning the OCMA for Best Alternative Band (which we didn’t find out until moments before we went onstage at MusInk, despite our pre-taped acceptance speech that aired at the awards), and the fact that March 6th was 10-year anniversary of the release of our very first LP, Identity Crisis, on SubCity Records, and it made it a pretty phenomenal weekend.

We couldn’t be more thankful.

So now, we’re bearing down and trying to turn a slew of ideas from four brains with very different tastes in music into what we think will be a cohesive record. It’s happening. Slowly. But it’s really happening. Thank you all for being patient, and we hope you know that once we get this thing/record ready to commit to tape/digital media, it will be the truest and most honest piece of tunage that the four of us can agree upon/come up with.

More updates to come…

-Riley

Studio Update | 2/17

Eats.

Lunch breaking with some Pho.  

My coffee cup was ravaged by Ed’s monstrous bass tones.

But the banana was OK.

Survived only to fall victim to my ravenous appetite.  

Dustin.  Beverage fiend.

Very productive week.  

Teppei

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