This is another post from the archives that is made possible by a Phish.net flashback post by UCPete and the photographs contained therein, by R. David Guidry, a New Orleans photographer and Phan who was at Tipitina’s for Phish’s 3/3/93 performance at the legendary club.
These photos show us a rig evolving from a simple Guitar –> Amp setup into something that would rely a bit more on pedals to craft the guitar tone. Of course, it’s a very small rig compared the vast electronic apparatus that powers Trey’s tone today. And the following year, this collection of pedals and rackmount units would become a professional touring system with a full build-out by CAE and Bob Bradshaw.
The key elements here are tone drivers, rather than delays, reverbs and modulation (although there is a single Microverb perched above the Boogie). The two Tube Screamers sculpt that mid-range-y lead tone that would come to dominate Trey’s sound in the mid-90s and beyond. There are two channel switching pedals, as well, allowing Trey to use the Boogie’s three distinct voices: clean, crunch, and lead. And of course there’s the Ross Compressor, squashing down those two Tube Screamer pedals, which Trey liked to run hot.
Amplification: Mesa Boogie Mark III Long Head; all three channels appear to be in use as there are two foot switches in use. (note: the EQ on this amp is also foot switchable, but I think it’s unlikely that Trey was using that function).
Cabinets: One 2×12 Languedoc wood cabinet.
Guitars: Old Reliable.
Floor Pedals: Ernie Ball Volume, two TS-10 Tube Screamers, Boogie Lead/Rhythm, Boogie Rhythm 1/Rhythm 2, Ross Compressor.
Amp-top: One Alesis Microverb and one unidentified rackmount unit (see below).