Big news in TGR-world: Trey will be making several major changes to the rig for the 12/28-12/31 New Year’s run at Madison Square Garden. The headlines: Trey has switched amplifiers to a Komet Trainwreck 60, has replaced his TS-9’s with vintage TS-808’s, and has added a Klon Centaur to the rig in place of the H&K Tube Factor. Check out the images below from the pre-show rig build-out. 
Amplification: Trainwreck Komet 60 (x2) — Rhythm amp has NOS Phillips 6L6 tubes; Lead amp has NOS Mullard EL34 tubes. Bruno Speaker Cabinets (x2) loaded with Celestion G12-65 Heritage Speakers. Victoria Reverberato. Leslie G-37 guitar rotating speaker.
Guitars: Koa #1.
Floor Pedals: Beigel Tru-Tron; Boomerang, Whammy II, CAE RS-10 Audio Switcher (see here for signal chain), Crybaby Wah, Ernie Ball Volume, Lehle Little Dual Amp Switcher, Boss FS-5 switches.
Rack Pedals: 2 x TS-808; Way Huge Supa Puss; Shin-ei Uni-Vibe; Klon Centaur; Alesis Microverb.
Rack (from top): Furman Power Conditioner, Korg DTR-2 Tuner, Ibanez DM-2000, TC Electronic D-Two, 3 x CAE 4×4.
Mics: Trey’s rig is mic’d by a Shure SM-57 and a Royer SF-12.
Below are some stage shots from MSG:
Nice look at the dual Komets and the rack and rack pedals below. Note a few changes to the signal chain, based on the numbering on the pedals:
Languedoc Guitar –> Dunlop GCB-95 Wah –> Custom Audio Electronics 4X4 switchers (loops 1-8 below) –> Komet Trainwreck 60.
Loop #1: Digitech Whammy 2 / Beigel Tru-Tron 3X
Loop #2: Klon
Loop #3: Ibanez TS-808 “less” distortion
Loop #4: Ibanez TS-808 “more” distortion
Loop #5: Alesis Microverb
Loop #6: Shin Ei Univibe chorus
Loop #7: Boomerang Phrase Sampler ver 1. / Ibanez DM-2000 digital delay
Loop #8: Way Huge Supa Puss analog delay
Below is a close-up of the RS-10 that confirms the signal chain. There are three rows of buttons, with the top row having four and the other two rows having three, as follows (MOD and HOLD are settings on the DM2000):
1 WHAMMY/MU — 7 BOOM/DM2000 — MOD — HOLD
4 MORE — 6 UNIVIBE — 5 MICRO
2 KLON — 3 LESS — 8 PUSS
Below is the floor array. 5 x Boss FS-5 switches: (1) “once” pedal for the Boomerang; (2) tap tempo for the Supa Puss; (3) mutes for the DM-2000 digital delay; (4) and (5) control the Leslie G37 (on/off & fast speed/slow). The Beigel Tru-Tron, the Whammy II, CAE switcher, Crybaby Wah, and boomerang. Plus a Fender-style reverb/tremolo pedal to control the Victoria Reverberato.
Trey's Guitar Rig 
really cool but how is he gonna control how many ts-808’s he’s using? like he’ll normally use one then kick another one on for effect.. can he still do that?
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Yes, he controls them individually via the CAE switcher, as he has with the TS-9s.
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wow, 808’s and a Klon, I can’t wait to hear this! I have 12/29, this is exciting
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By the way, I love this site, great work man!
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Thanks!
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Ahhhhh, some geekdom worthy of geeking out on. Tytytyty
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Ok, so al, this said and done, will there be an audible difference that’s decidedly distinguishable and to what degree, more apparent on what type songs??? Petrichor vs Joy for example…..
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Awesome update! Thank you! Doesn’t Trey use a Real McCoy Teese Wah that is in a Cry Baby casing?
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That had been my understanding for awhile, too. But I’ve been told reliably that it’s the Crybaby.
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Note the Marshall shipping container too. Sending back the JTMs or something else in store?
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Thanks for continuing to do great work! No idea how you’re getting the inside info but it’s greatly appreciated.
Amazing to see that Trey is embracing the golden age of guitar pedals by continuously experimenting.
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Looks like the compressor is gone
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Fucking rad. What does the centaur do?
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The Centaur is used primarily as a clean boost.
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The Ross compressor seems to be missing. That’s a huge part of his sound. I can’t understand why he would take it out because he needs that extra sustain and level control.
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I don’t think the Ross is a huge part of his sustain TBH. The Hollowbody guitar is really what gets the sustain. The Compressor definitely helped balance out the levels of his ODs, but It wasn’t really responsible for much more sustain. I think his tone has a bit more bite without the comp and I tend to prefer it TBH…he was running the Comp on really subtlety anyway over the last couple of years.
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When did he get rid of the Leslie?
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I’m guessing the Leslie will be at the Garden.
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Always strange to me that more money was spent on the stand that holds the SKB rack than the SKB rack itself.
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Anyone familiar with the tone of the G12-65 Heritage speaker?
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He had SE guitaRF rigs on his speakers last night, too. That’s new, isn’t it?
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Yes — thanks for helping me identify those. I’ll update the site.
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I gottta ask…. how/where are you finding these amazing pics each tour? Thanks
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You have done wonderful work here sir. It even looks as though you have been communicating with Brian Brown or another insider. Thank you for finally clearing up the false rumor of the RMC inside the Crybaby case. I never believed it but it is a well published mistake on thegearpage causing most of them to own the RMC and still fighting to tune it in. The Ross is also held almost solely responsible for his tone on thegesrpage. After jaded vets complained about the failed YEM note from MSG, the blamed the lack of the Ross. So, I had to show them that I could do it with my guitar my Boogie 50 Caliber Plus and a tube screamer. They are so convinced the Ross is his secret that it was said that “Trey lacks confidence in his playing without the Ross.” ROLFLMAO I think that they believe this $40 cheapo compressor can make unicorns fly out of your butt and cure world hunger. However, it’s mainly the guitar. Keep up the good work.
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Trey definitely used a Teese RMC3 for ’95-’00, most notably the ’97 tour when it was heavily used for the funk jams.
The crybaby came on the scene in 2003 when phish reunited and Trey was at that time Ross less, probably required a different wah with a less agressive inductor, since the teese needs a comp to smooth it out, in fact Geoffrey Teese actually made comps at one time.
Hope this helps!
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Thanks alot for posting this site. Does the g 37 leslie have a tube in it? Off so has trey upgraded that as well ?
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Yes, it has a tube preamp. It’s stock, as far as I know.
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So how is the whammy signal running the wet and dry out of just in a loop on its own?
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The pedal itself has two modes: harmony and whammy each with a set of effects. On harmony mode you hear both the wet and dry signal. On whammy mode you only hear a wet signal.
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Are you sure about this? You can hear the root note in harmony mode even without the dry signal output engaged. I think Trey just uses the dry out for a tuner out, if at all.
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I don’t believe he’s using the dry out.
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In looking at all the pics on this site, he is using the Dry and Wet out jacks. And considering it is now in one of the loops, he has to be running either one of the dry or wet into the Beigel (since they are both in the same loop). Running the dry out to a tuner in the rack from the whammy does not make sense when he could just take a feed to the tuner within the rack itself. I guess we will have to continue scratching heads on this one.
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Can you point me specifically to a photo where you’re seeing this? Every photo I’m looking at shows two 1/4″ cables interfacing with the Whammy; 1 input and 1 output. Plus there’s a power cable. A pretty clear picture here: https://treysguitarrig.com/2013/05/22/2013-may-trey-and-national-symphony-orchestra/
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In fact, in the photo I linked to, the DRY output on the Whammy II is taped over.
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The moments sound awsome. Just anothr trick in the ‘ll bag. I love the on board comp.
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Always bummed when he takes the compressor out of the chain.
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Where does the Reverbrato come into play? amp FX loop i would guess?
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Or just before the input. Let me see what I can find on that.
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This is great stuff! Much appreciated.
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Great info… Wondering if/when the pair of Whitney amps will appear…
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