Teppei Teranishi

Beginning around 00:17 in this studio interview (recording the upcoming Thrice album), Teppei gives a breakdown of his Baritone Jaguar: “And so this is my Baritone here, which is a Fender. I don’t know, I don’t think they make these any more . . . [The pickup] is different from what they sell now. I think what they have now is kind of like a paired down version of this with a humbucker and . . . a little toggle-switch there. This is like a straight up Jaguar but with a stoptail bridge . . . just a single-coil pickup which I think is a pretty interesting pairing with the lower tuning . . . And then this is a Seymour Duncan Quarterpounder for Jaguar. I put it in there for a little more girth”

Teppei plays his Fender Jaguar Baritone for the whole song.

“I actually never liked choruses ever, but we ended up using quite a bit on this last record and it just worked, so I was like, ‘I guess I need a chorus pedal now!’ So Dustin was like, ‘Try this one!’ and I really like it; it’s beautiful-sounding. It’s got the chorus and the vibrato, and then you can actually blend in between, so I think it’s the vibrato that’s winning me over – I’ve always thought vibrato’s really musical and pretty.”

Teppei Teranishi is shown using a Gibson Les Paul Custom Black Beauty in the image titled "TeppeiLP.jpg" hosted on Blogger.

This Supro Dual Tone is only part of Teranishi’s dual-amp setup and rests comfortably atop a blonde Fender Bassman 2x12 cab loaded with Celestion Vintage 30s.

I got a lot of questions when I posted this in my story so I figured I’d post it here. This is the latest iteration of the @music_man Valentine I got a few months back. It’s got a @lollarpickups Imperial in the bridge, and a custom one-off in the neck from Lollar that’s a shot at making their Tele Special neck pickup in a humbucker casing. The neck pickup (Lollar Tele Special) in my Nash Tele has been my favorite neck pickup for years and they were kind enough to try this out for me. Super stoked. I started playing this on the last tour (EU with @refused) and it dawned on me that besides my Tele and 335, I’ve never strayed from my trusty Les Pauls. It’s been fun to shake things up a bit and this fella is sounding (and playing) incredible. Huge thanks to the folks at @music_man and @lollarpickups! 🙏

Around 1:31 into this studio interview (recording the upcoming Thrice album), Teppei gives a breakdown of his Gibson 335: “And then for everything else I just use my 335, actually in the neck position which I think is pretty unusual for our style of music; but I think it ended up having a pretty interesting sound, and for some reason I just started writing in the studio that way; and we’ve been demoing and whatever just on the neck pickup and I liked it, so I just kept it”

“There’s three different presets that you can do with that, so I just have a basic hall-type setting, one that’s a little more spring-sounding, and then one that’s the shimmer octave setting. There was this pedal that we used to use called the [Boss] PS-3 Pitch-Shifter/Delay – the Cave In pedal was what we called it. And so that has that vibe, and we use that on quite a bit of stuff. So, I’m using the shimmer setting as my PS-3-ish thing.”

“That’s my analogue delay, which has got tap tempo. It’s cool – it’s got the different subdivisions, but I just keep it on one. That’s my only delay.”

Teppei seen in this video with his Vox AC30 (@2:31): “I just use my AC30. That’s it. . . I mean I’ve had this amp for so long that I feel like I know how to battle [producing the right tone] . . . I mean there aren’t a lot of options. There’s literally like a volume, a treble, a bass, and a cut; and I don’t even use the cut, so really just with those three notes I get all my tones. So keeping it simple”

In an interview with MusicRadar, Teppei Teranishi of Thrice discusses his pedalboard setup, mentioning the JHS Double Barrel as a key component of his distortion and overdrive sound.

According to this article, he uses a Nash T-Model

In this video around 2:30, Teppei on using the Line 6 M13: “I pretty much only use maybe some reverb and delay here and there. Possibly like some really, really minimal amount of compression if I want a little boost, but really minimal.”

In a photo titled "Teppei2.jpg" on Blogger, Teppei Teranishi can be seen using the Pro Co RAT 2 distortion pedal.

In this post Teppei can be seen demoing a music man stingray rs guitar

Teppei Teranishi: “I used to play a black Les Paul Custom a lot, which was my road guitar; that got stolen, unfortunately. This particular guitar is actually the first kind of nicer guitar I bought way back in the day. And so I babied that when I got it – I took it out for a little bit, and I was like, ‘I don’t want this thing to get ruined on the road.’

“And so it’s been hiding for years and years. I’d bring it to studio sessions for recording, and I used it quite a bit on the first few records, up until The Artist In The Ambulance, and then the latest one as well. I believe it’s got DiMarzio Super Distortions, and they were just original with the guitar when I bought it.”

Q: Teppei, did you have any gear revelations in the studio?

Surprisingly, I only played single-coil guitars. I used my Nash T-model, Baritone Jag, and the unexpected hero of the record, a Fender American Professional Jazzmaster - that I had planned on putting humbuckers in but never got around to - which probably showed up more on the record than any other guitar.

in this post Teppei can be seen demoing a music man cutlas

Nord Electro keyboard seen onstage during Thrice's live set @ The Regency Ballroom in San Francisco, CA (June 12, 2012).

“I run it real light, always. It just adds a little mojo.”

In the Wikimedia photo titled "Teppei_Teranishi.jpg," Teppei Teranishi is seen playing an Epiphone Casino, illustrating his use of this semi-hollowbody electric guitar.

Quoted from this interview:

I've had that guitar forever, actually. I got it and I threw P-90s in it right away, to see if i'd like it. It was cool, but for whatever reason, I didn't really end up using it that much. I dug it out, and I started thinking about putting mini-humbuckers back in; I liked the idea of something that's a little more articulate than a standard humbucker.

Teppei Teranishi: “I believe it’s got DiMarzio Super Distortions, and they were just original with the guitar when I bought it.”

“I basically have all the wet stuff running in one loop, so I can turn that on and off. And then I’ll turn little things on or off for different songs – maybe one needs chorus, one needs delay, one needs reverb, so I’ll just turn those on and off.”

"My brain is exploding. @oldbloodnoise ????" Teppei on instagram

"My brain is exploding. @oldbloodnoise ????" Teppei on instagram

I’ve never taken this on tour but it’s definitely been used in the studio—most certainly, and probably most notably, on Daedalus. It was used here and there throughout the rest of The Alchemy Index and maybe some on Beggars.

“That’s my, ‘I need this one random thing for this one part in this one song’ pedal. There’s a couple of things that need that for whatever reason, like the parked wah: there’s a riff in The Artist In The Ambulance that just doesn’t work without that effect. And the Whammy-like pitch-shifter pedal thing for the end of For Miles.”

Bridge pickup on his 1972 Les Paul Standard

Teppei Teranishi on recording TBEITBN: "It mostly happened digitally. We would just be swapping and sharing Logic files. Somebody would lay down something, share that and then maybe somebody would add something over that; it was just a slow building of songs, everybody kind of doing their thing individually."