Amplification: 2 x Komet Trainwreck 60. One has EL-34 tubes; the other one has 6L6.
Ambikabs: 2 Komet Ambikabs. Each Trainwreck 60 has its own dedicated Ambikab, and each Ambikab has its own effects loop with a Source Audio Ventris Reverb and a Way Huge Supa-Puss Delay. The 12″ speakers are Celestion Heritage 65’s.
Leslies: 2 x Leslie G-37. One of the Leslies is dedicated to guitar, while the other is used for the samples coming from the McMillen 12-step. There is a Leslie speed selector switch and a volume expression pedal that controls the Leslie volume.
Bass: There’s a 50-watt Ampeg bass amp next to the Komets that is taking a slave signal from Tony Markellis’ amp so that Trey has better control over his bass mix.
Electric: Koa #2; Ocelot is backstage tuned to drop D. Trey is favoring the humbucker configuration and particularly the bridge pickup during this run.
Acoustic: D-28, D-35 (drop D for Waste and others). Both have the stereo Trance Amulet system under the bridge plate and a Sunrise magnetic in the sound hole. Acoustics are strung with D’Addario EXP 16 phosphor bronze coated strings.
• 2 x Tube Screamer
• Beigel Tru-Tron 3x Envelope Filter
• Eventide Space x 1
• Moog MF-104M analog delay
• 5 x Way Huge Supa Puss (most of the five have the R79 removed from the printed circuit board, allowing for a smoother curve or more linear slope on the mix control)
• Victoria Reverberato
• Bradshaw Custom Tremolo
• Shin -Ei UniVibe
• Ibanez DM-2000 digital delay
• McMillen 12-step midi keyboard foot controller and samples (see explainer below)
Below is a channel listing for the CAE RST-24 based on the “Rosetta Stone” photos above. Note, this table compares each channel to what was in that space for the MSG NYE run with Phish. Plenty of changes.
|Channel||NYE 2017-18||Spring Classic TAB|
|1||Leslie Speed||Time Factor – Band Delay|
|2||Victoria Reverberato||Victoria Reverberato|
|3||Bradshaw Trem||CHOP (Bradshaw Trem)|
|4||Bass Envelope Filter||Centaurus (Space)|
|9||Leslie ON/OFF||6L6 Amp|
|10||Space (pre)||Moog (MF-104M)|
|14||Moog||Puss (for the 2nd in-line Supa Puss)|
|16||Whammy II||Whammy II|
|21||More||Echo (3rd Supa Puss)|
|22||Moog Tap||Tap (controls analog delays)|
|23||Eventide Tap||BTAP (secondary tap *)|
* The BTAP sends midi cc for anything that reads midi. It has been used for the Eventide Space and Time Factors both in the rack and in the Ambikab loops, depending on rig configuration.
The McMillen 12-step
The McMillen 12-step is a midi keyboard foot controller that Trey first brought out during his winter/spring 2018 solo tour. He uses it to trigger sounds stored on a Mac laptop offstage. The samples are mostly ambient, ethereal noises designed to fill in space and create textures that Trey can play over. The sounds themselves were designed by Trey in conjunction with Strange Cranium Studios, a Manhattan-based recording, performance, and production studio.
Most sounds were captured using real vintage analog synthesizers running through MainBrain, a proprietary software developed by Strange Cranium. The instruments used to develop the sounds included, among others:
They also used a variety of vintage reverb and delay units (including a Binson Echorec and an AMS Nieve DMX 16 Reverb) as well as several modular synth units, including a Moog and an Oakley.
For the Trey solo tour, they ran direct to the board. For Classic TAB/Trey Trio they run into a second Leslie G-37 rotating speaker, lending an even more ambient and ethereal swirling vibe.