Trey brought some significant changes to the rig for Summer Tour 2017.   A quick overview:

  • Effects.  Most notable on the effects side is the addition of a pair of Eventide Space Echo Reverbs and a Moogerfooger MF-104M Analog Delay.  Also of note: the Alesis Microverb and Beigel Tru-Tron are out.
  • Ambikab.  Additionally, there was an important change on the guitar cabinet front, as Trey swapped out one of his Bruno Cabs for Komet Ambikabs — a cabinet built by the company that produced his amplfiier heads that is specially designed to handle guitar effects.  According to a source close to the rig, this change was made as part of Trey’s tireless quest to find a cleaner rhythm sound.  Per this source, Trey’s Ambikab is a NAMM show prototype.  The cabinet has two 12″ speakers (Celestion Heritage 65’s currently) that are fed a dry signal directly from the Komet amp head.  It also has two 10″ speakers that handle the “wet” signal (these were originally 8″).  The dry signal is sent out to the Supa-Puss and the second Eventide Space Reverb and then returns to the Ambikab which re-amps it as a wet signal to the 10″ speakers.  So there are two 12″ dry speakers and two 10″ wet speakers, allowing the time-based effects to color the guitar’s sound without overwhelming it.
  • Ross Compressor.  The Ross was in for the first few shows of the tour and and was then removed; details below.

Details and photos below.  The extent of the changes suggests that Trey continues to be deeply focused on tweaking and improving his tone and effects in the wake of the big NYE 2016-17 overhaul.

AmplificationTrainwreck Komet 60 (x2) — 1 of these amps is a backup as Trey is no longer running a 6L6 and an EL-34 amp.  During the Baker’s Dozen, Trey brought the Victoria Reverberato back to the rig.

Cabinets:   NEW: Komet Ambikabs.  Bruno Speaker Cabinet loaded with Celestion G12-65 Heritage Speakers was used as a backup until the second Ambikab arrived as backup. Leslie G-37 guitar rotating speaker.

Guitars: Koa #1.  Koa 2 was played at the Baker’s Dozen for alternate tunings, including on Cinnamon Girl (drop D) and Wind Cries Mary/Izabella (Eb).

Floor Pedals:BoomerangWhammy IICAE RS-10 Audio Switcher (see here for signal chain), Crybaby WahErnie Ball Volume, Boss FS-5 switches (see breakdown below), Peak FCB42N midi controller (for Eventide), Vongon Midi Controller (for Moog).  (Note: the Tru-Tron envelope filter is gone).

Rack Pedals: 1x TS-9, 1 x TS-808Way Huge Supa PussShin-ei Uni-Vibe; Ross Compressor (removed during Baker’s Dozen), Moog Moogerfooger MF-104M Analog Delay, 2 x Eventide Space Reverbs.  (Note: the Alesis Microverb is gone.)  Trey added a Korg Kaoss Pad to his rig for the Labor Day Dick’s Run.

Rack (from top):  Furman Power Conditioner, Korg DTR-2 Tuner, Ibanez DM-2000, 3 x CAE 4×4.  (Note: the TC Electronics D-Two is gone.)

Mics: Trey’s rig is mic’d by a Shure SM-57 and a Royer SF-12.  Trey also uses SE GuitarF Reflexion Filters to isolate these mics.

Below: the rack pedals.  Early in the tour, the Ross is in a CAE loop (2 ROSS), which meant Trey could add and subtract it as needed rather than having it always-on or always-off .  Also note the two new midi controllers at the base of Trey’s rack: a Peak FCB42N midi controller (for the Eventide), and a Vongon Midi Controller (for the Moog delay).

Later in the tour, the Ross was removed.  In the photo below, you can see it’s gone from the rack and the Victoria Reverberato has been added (the Victoria took the Ross’s place in CAE loop #2).  See the Pedals page for a well-sourced explanation as to why the Ross was removed.

Reverberato In Comp Out

Trey used a Korg Kaoss Pad to tweak Fishman’s vocals during the cover of Radiohead’s “Everything in it’s Right Place” during the Baker’s Dozen run, and liked it so much he added it to his guitar rig for the Dick’s Run, as pictured below.  Trey creates ambient loops on the Boomerang during soundcheck, then samples them to the Kaoss Pad, which he uses to tweak them during the set. The Kaoss Pad runs direct to the PA, not to the guitar speakers. You can hear it here:

Below you can see the Supa-Puss has moved from the rack to atop the Komets, along with a second Eventide.  These two effects are not in the CAE loop, but are instead part of the Ambikab’s dedicated and re-amped effects loop.  They are used for more subtle delays and reverbs while Trey is using his clean tone, whereas the other Eventide and Moog are used for more intense delay and reverb effects.

Below the Ambikab is on the right and the Bruno cabinet is on the left.  According to a source, the Bruno will soon be replaced by a backup Ambikab. (UPDATE: the Bruno has been removed; the second photo below is from later in the Baker’s Dozen run and both cabinets are Ambikabs).

dual ambikabs - front.jpg

Below is the floor array, with some changes to the FS-5 Boss pedal array.  The bottom row of Boss FS-5’s are (left to right) (1) ONCE for the Boomerang; (2)  Kill switch for the wet signal from the Ambikab; (3) Tap Tempo for the Supa-Puss; (4) Tap Tempo for the Moog MF-104M.

The top row of FS-5’s are (left to right) (1)Leslie fast / slow; and (2) Leslie on / off.

The signal chain is substantially revised as of this tour, and is as follows:

Guitar –> Custom Audio Electronics 4X4 switchers (loops 1-8 below) –> Komet Trainwreck 60 amps –> Ambikab speaker cabinet

CAE switcher loops:

Loop 1: Whammy II & Wah
Loop 2: Ross (removed in favor of the Victoria Reverberato during the Baker’s Dozen)
Loop 3: TS-9 (less)
Loop 4: TS-808 (more)
Loop 5: Univibe
Loop 6: Moog MF-104M
Loop 7: Boomerang & DM-2000
Loop 8: Eventide Space #1

The Ambikab’s effects loop runs to a second Eventide Space Reverb and the Supa-Puss analog delay, which run to the cab’s 10″ speakers, while the 12″ inch speakers run the dry signal.  Below is a look at the Ambikab input section from the rear:

Ambikab -rear

Below are some shots of the Koa 2 Trey, which used for the alternate tunings on Cinnamon Girl (top, drop D), Izabella (middle, Eb), and Wind Cries Mary (bottom, Eb).  Trey refers to the Eb tuning (all strings 1/2 step down) as “Hendrix Tuning.”  Tuning a half step down would give the strings a looser feel with more bend and more bite/twang.  It also delivers a lower and richer low end: