How We Know – St. Albans

Last Thursday we had an opportunity to do a college service at St. Albans Church on LSU’s campus. The space was just so cool that we couldn’t help but grab a quick one-take video of an impromptu acoustic/binder/banjo rendition of How We Know. Feel free to comment and let us know what you think. We’d love to keep doing more videos like this if you guys enjoy them!

Stray – unplugged in a hallway

Kris, Lane and Jeremy taking advantage of some serious reverb in a very nice sounding hallway. We shot this on an iPhone late one night.

The Assemblie + Children’s Cup

We are honored to play a small role in supporting Children’s Cup in Africa through our music. Two of our songs, “Greatest” and “How We Know” have been featured on a new Children’s Cup video. Children’s Cup is a humanitarian and spiritual aid organization. It has feeding programs, medical treatments, and orphanages for hurting people around the world.



Album Release Show

We are excited to announce the official album release date. We are going to perform at the HPC Annex at 19202 Highland Road on Saturday night, March 24th. The concert begins at 7 PM. We’ve also invited our friends Aaron Kelly and Rory Williams… both AMAZING performers who will be opening the show! This ia such a big night for us, and we want to share it with all of you. We are not charging any cover, as a thank you to everyone who has carried us this far. Spread the word, bring your friends (and your friends friends!). We can’t wait to see you there!

When: March 24th, 2012 at 7PM
Where: Healing Place Church Annex
Who: The Assemblie + Aaron Kelly and Rory Williams

New EP + Studio Blogs

Our new five-song, self-titled EP is now officially available on iTunes, Amazon, and Bandcamp! We will also be carrying physical copies at all of our live performances.  

As an accompaniment to the record, we have created a web-page dedicated to the release.  The page includes media downloads, album lyrics, personal studio blogs, and production notes.  We hope to share as much of this  project as possible with all of our friends, so feel free to comment on the blogs and ask any questions… we will be happy to respond!

Visit the New EP Page


Guitar: In The Studio

I thought I would give a little insight to the gear I used to record all of my parts on the record. As long as I’ve been playing electric guitar I’ve always wondered what gear was being used on the records I was listening to.

I’ll list the pedals in order of how they’re run on my board.

MXR Dyna Comp Compressor (Brian Beyt)
Divided By 13 Joyride Overdrive
Ibanez TS808 Tubescreamer
Ernie Ball 6166 Mono Volume Pedal
Boss TU-2 Tuner
Electro-Harmonix Holy Grail Reverb (the older model)
Ibanez TS9 Analog Delay
Boss DD5 Delay

E-Bow: I used the Bow on Revolving.

As far as my tone goes I typically enjoy a tame/compressed sound- clean cleans, and clean drive sound. For that I always have my compressor on along with my Joyride overdrive and tubescreamer.

My favorite pedal is the Joyride simply because of its versatility. When my compressor is on I have the Joyride’s drive knob dialed back a little from all the way and it serves as a nice clean boost, really fattening up my sound. When my tubescreamer is on along with the Joyride in the position it’s in, it serves as a nice simple drive. For acheiving the gainier parts of a song or usually the chorus i turn my Joyride drive knob up all the way- how that mixes with my compressor and Tubescreamer is great.

On the new record I’ve changed a couple things I’ve done between my Dyna Comp>Joyride>Tubescreamer. I’ve come to notice that if I turn off the compressor and Tubescreamer and crank the Joyride’s drive knob it serves as a huge, Black Keys type of fuzz sound. I use that sound throughout on certain parts for a fat fuzz tone.


I used an Electro-Harmonix Big Muff Pi Distortion pedal for the octave lead part.


I also used the Big Muff Distortion on the lead part here. For this song the guitar lead is carrying the feel of the song so I decided to turn up my DD5 level and Feedback Knobs up both to the 2 o clock position allowing the delay to just trail all through the verses and choruses and bridge. I also have my Holy Grail cranked to the 1 o clock position.

How We Know:

The song is quite wide open from the beginning, meaning we’re playing at full intensity. This is the only song on the record that I keep my Dyna Comp turned off while the Tubescreamer and Joyride remain fully cranked. It allows for a a more loose, open sound.


All except for one of the guitars I used on this record are mine. Let’s face it- I’m broke. My friends are awesome and have cool guitars.

Mexican Telecaster (mine) I added the Vintage 52 Lollar pick ups to both my neck and bridge. Great addition.
Gretsch Electromatic Hollowbody (Brian Edwards) I can’t thank Brian enough for letting me use this guitar all the time. Fairly inexpensive with a great sound.
Fender Jazzmaster (JD Ohlerking) I used this guitar a lot on layering rhythms and lead parts. I really love the versatility of this guitar.
Epiphone Sheraton II (Lyle Begnaud) Overall one of my favorite guitars I’ve ever played.
American Telecaster (John Beck) It’s what my Mexi Tele wishes it was.
American Custom Stratocaster (Brian Beyt) Simple beautiful strat tone. It’s what a strat was meant to sound like.



Stayed pretty simple as far as amps went on this recording.

Fender Deville Tweed 2×12 Combo
Vox AC-30 (Kris Neel)

Bass: In The Studio

Bass: In The Studio

The low end. The rhythm. The driving power behind a song. Combined with drums, bass becomes the cornerstone of any good band. For an instrument that creates such low, deep sounds, it can be difficult to capture it’s true essence. With that in mind, I’ve always been curious to hear how different players achieve their tone. Jeremy [our drummer] came up with the idea of writing a blog about how we recorded our individual instruments in a way that let Brian [our incredibly talented producer/pianist] mix down what you can hear on the record. I used the same bass on all five songs. It is my love, my pride, my joy. Ladies and gentlemen, may I introduce, my American Fender Jazz Bass Deluxe V.

There’s a reason so many players use Fender bass guitars: Leo Fender got it right the first time. The 1951 Precision Bass [or P-Bass] was a revolutionary instrument. By the time the Jazz Bass came out in 1960, Leo Fender had perfection locked in [I know I sound like a fanboy, but it is what it is ^_^]. Granted, all guitars and tones are subject to taste, but the Deluxe Jazz I played for the EP allowed our engineers maximum flexibility to craft the sound of the low end and implement it appropriately into the overall mix. I’m writing this blog for any curious bass players [like myself] that like the bass tone and would like to know how we achieved it. Here we go.


Bass Guitar: American Jazz Bass Deluxe V w/ Samarium Cobalt Noiseless pickups
Amp: Ampeg SVT-3PRO
Cab: Ampeg Classic SVT-410HLF
Pedal FX: CMAT Deluxe Signa Comp[ressor] > Electro Harmonix Bass Big Muff Pi > SansAmp Bass Driver
Rack FX: Tech 21 SansAmp PSA-1 > Empirical Labs EL8-X Distressor

How We Know

As Jeremy put it, “How We Know” is the closest thing we have to a “pop-groove” format. We dialed in the bass tone to be punchy yet full and ran it through several effects pedals: Signa Comp, Big Muff Pi, and two racks [listed above] to get that gritty, overdriven tone you can hear. I played the first half of this song with a pick on a higher register. The second half was played finger-style on the far bottom end for that larger-than-life low end. The B string definitely came in handy for this EP, as I made use of it throughout.


The five of us found our start in music predominately from playing in the church we grew up in [it seems like a theme among musicians]. While the other songs on the EP are a little more in the indie vein, “Greatest” is our ode to the sing-a-long anthem style of music that we know so well. The bass tone for this track was achieved by dialing the 3-band EQ of the Jazz to a fairly flat level and running through several effects: Deluxe Signa Comp > SansAmp Bass Driver [clean tones] > and the two racks listed above.

Darkness Falls

The first song we wrote in preparation to this EP, “Darkness Falls” has a soft, beautiful flow throughout with a large build culminating at the end. The overall sound called for very minimal, yet very solid parts on bass. The bass tone for this track was achieved by dialing in the 3-band EQ on the Jazz to a fairly flat level and running through several effects: Deluxe Signa Comp > SansAmp Bass Driver [clean tones]> and the two racks listed above.


The bass lines for “Heartbeat” were composed in a similar style to “Darkness Falls”. Large single notes and a big warm low end provided the support structure for guitar and piano to tug at your heart strings 😉

The tone for this track was achieved by dialing in the 3-band EQ on the Jazz to a fairly flat level and running through several effects: Deluxe Signa Comp > SansAmp Bass Driver [clean tones]> and the two racks listed above.


One of the bigger sounding tracks on the EP, “Revolving” needed not only a massive bass sound, but a gritty growl to help punch the bass through the mix.

The bass tone for this track was achieved by dialing dialing out the mids [from the Jazz’s onboard EQ] completely and running through several effects: Deluxe Signa Comp > SansAmp Bass Driver > Big Muff Pi [to add some grit] and the two racks listed above. The verses are played with a pick on the B string giving that super low, dirty growl. From the bridge on out, I stayed off the B string and switched to finger style for a slightly less punchy tone.


Drums: In The Studio

As a drummer, any time I listen to a new record, the first thing I hear is the percussion. Every recording has its own flavor… snare drums can pop and honk, kick drums can punch or boom… with drums the sonic possibilities are literally endless. When we strive to achieve a sound, we often use adjective like “dry” and “dusty” or “tight” and “close.” Adjectives that only make sense to us. For me personally, I have certain flavors that I prefer, and I’m always working to refine my sound. I am on what seems to be an endless journey to find “my sound.” I listen to records – tape up my heads – listen to more records – throw a t-shirt on the toms – listen to more records – swap my cymbals… it never ends. If you can relate, then you might find this blog post useful. I’m going to attempt to detail what we did in the studio to achieve the percussion sounds on our latest EP. I’ve always wished more drummers did this, so hopefully someone out there will appreciate the drum sounds on our record, and benefit from this info.

How We Know

Of the five songs on this EP, “How We Know” is the closest thing to a “pop-groove” format (for lack of a better term). We kept the setup relatively straightforward on this one, although we stuck with the goal of capturing a dry and open drum sound.

Kick: 22″ Maple Pearl with Evans EMAD batter head and REMO reso head – hand tightened with a half-turn of the drum key for slight punch. We used a small sheet inside of the drum for a little bit of dampening.
Snare: 1968 14″ Ludwig Acrolite – loose/open tuning with extra wide snares.
Kit: Hybrid Pearl Masters/Pearl Session Custom/Late 60s Ludwig Vistalite.
Cymbals: 19″ Sabian HHX Dark Crash
Hats: 20″ K Custom Dark Ride/20″ A Custom Ride (bottom) – both very cracked and trashy

The end of “How We Know” features a percussion break out. We recorded four drummers all standing over floor toms and snare drums, playing together.


For this song, I wanted to stick to the natural, fat flavor of the drum kit, but with a little more crack on the snare drum to accomodate the anthemic feel of the driven chorus.

Kick: 22″ Maple Pearl with Evans EMAD batter head and REMO reso head – moderately tightened. We used a large sheet inside of the drum to get some punch and kill the excess resonance.
Snare: 14″ Ludwig 75th anniversary special edition brass snare.
Kit: Hybrid Pearl Masters/Pearl Session Custom/Late 60s Ludwig Vistalite.
Cymbals: 21″ Zildjian K Constantinople light ride with rivets, 19″ Sabian HHX Dark Crash,
Hats: 20″ K Custom Dark Ride/20″ A Custom Ride (bottom) – both very cracked and trashy with a tambouring sitting on top

Darkness Falls

Darkness Falls is played lightly, using rods.

Kick: 22″ Maple Pearl with Evans EMAD batter head and REMO reso head – loose tuning. We used minimal dampening, and the drum was played lightly to minimize attack while capturing the body of the drum.
Snare: 14×7 Ludwig Classic Maple. Very open/loose tuning.
Kit: Pearl Session Custom Maple.
Cymbals: 20″ Zildjian K Custom Medium Dark ride, 19″ Sabian HHX Dark Crash
Hats: 14″ K Custom Dark Bottom Hat/16″ Sabian HHX Dark Crash Top Hat


This is where it really got interesting… we utilized three different drum setups for various parts of this song. I am really happy with how it all turned out.

Kick: 18″ Pearl Masters Maple Floor Tom/22″ Maple Pearl Session Custom. The floor tom was used as an open, boomy kick until the second chorus, then we switched to the more traditional kick drum sound. The 18″ top was also played with a mallet to create the “heartbeat” sound heard throughout.
Snare: 14×7 Ludwig Classic Maple with a t-shirt and shaker on top of the head. At the second chorus we removed the dampening.
Kit: Pearl Session Custom Maple/Early 80s Pearl Masters Maple/Late 60s Ludwig Vistalite
Cymbals: 20″ Zildjian K Custom Medium Dark ride – cracked – with a tambourine on top
Hats: 16″ Sabian HHX Dark Crash Bottom Hat/19″ Sabian HHX Dark Crash Top Hat


Revolving is a powerful song with a larger than life drum sound.

Kick: 22″ Maple Pearl Session Custom, tuned to have some punch.
Snare: 14×7 Ludwig Classic Maple.
Kit: Pearl Session Custom Maple/Early 80s Pearl Masters Maple 18″ Floor Tom
Cymbals: 20″ Zildjian K Custom Medium Dark ride/19″ Sabian HHX Dark Crash
Hats: 20″ K Custom Dark Ride/20″ A Custom Ride (bottom) – both very cracked and trashy with a tambouring sitting on top

The Assemblie + Devoted Student Conference

The Assemblie is officially slated to play two specials at the upcoming Devoted Student Conference in Baton Rouge. The conference is hosted by Healing Place Church, and we can’t wait to bring a unique and powerful musical experience to all of the students in attendance.

When: Feb 17-19, 2012
Where: Healing Place Church Arena

More Info

EP Coming February 2012