Guitars: Sunburst 1948 Martin D-28; this is a new guitar for Trey. 1963 Martin D-35 (natural finish). These guitars would both have Brazilian Rosewood back and sides, given the years of production.
Pickups: Trance Audio stereo transducers (likely the Amulet) mounted inside the guitars and a Sunrise full range magnetic pickup in the soundhole. The Trance and the Sunrise are sent to the Mackey mixer where they are mixed down and sent to the Whammy, Boomerang, Victoria Reverberato, and then to a Radial Direct Box and out to the soundboard.
Floor/effects: Whammy II, Boomerang, Victoria Reverberato, Oatmeal Can. A source involved in the tour production tells me: “[T]here’s a can of Irish oatmeal out there as a foot rest. It’s the only thing that works. We tried all the professional foot rest models.”
This passage from “Theme” in Northampton (3/8) gives you an idea of the mild tremolo Trey is getting from the Victoria Reverberato; he engages it by clicking the Fender-style reverb/tremolo pedal just as the video begins.
In this passage from “Frost” in Northampton (3/8), Trey samples his rhythm track using the Boomerang and then solos over it; he’s also using the tremolo and probably the reverb as well. It’s a beautiful overall sound.
This solo section from “Stealing Time” in Northampton (3/8) has Trey using the tremolo for his rhythm part, which he samples to the Boomerang. He then uses the Whammy II for his solo, including the octave/harmonizer feature and the pitch bender.
The “46 Days” from Portsmouth (3/11) included an extended Boomerang-supplemented jam during which Trey sampled his vocal to the Boomerang and harmonized with himself. The entire jam is worth a listen.
Below are some shots of the new D-28:
Below is a shot of the old D-35, with Trey resting his foot on the Oatmeal can:
Below is a good shot of the floor controls, including the Boomerang, the Whammy II, the Fender-style reverb/tremolo pedal, and the Irish Oatmeal can:
Below is a better look at the electronics that run the rig: