Amplification: 2 x Komet Trainwreck 60.  Both had EL-34 tubes in Tahoe, with one amp acting as a spare.  At night 1 of the Gorge, the EL-34 tubes in both amps had been replaced by 6L6 tubes in both.  By night 3, Trey was back to having 6L6’s in one amp and EL-34’s in the second – the best of both worlds.

Cabinets:

Ambikabs:  2 Komet Ambikabs.  Each Ambikab has its own effects loop with a Source Audio Ventris Reverb and an Eventide TimeFactor.  The 12″ speakers are Celestion Heritage 65’s.  The cabs are cross-mic’d for a wider soundstage; see below for more details.

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 Guitar Leslie volume.  The 2 Leslies are stacked atop one another so you can only see one from the audience.

Guitars:

Electric:  Koa #1 starting at the Gorge; Mar Mar is on stage tuned down a full step for Waste (See below for more).   Koa #2 was used for Tahoe.

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.

Effects:
•  2 x Tube Screamer
•  Klon
•  Ross Compressor
•  POG2
•  Beigel Tru-Tron 3x Envelope Filter
•  Boomerang
•  Eventide Space x 3 (2 in effects loops)
•  Moog MF-104M analog delay
•  3 x Way Huge Supa Puss atop rack (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.  Note: On Gorge Night 3, one of the Puss delays was removed from the chain to make room for an amp switching channel for EL-34 to 6L6.)
•  Victoria Reverberato
•  Bradshaw Custom Tremolo
•  Shin -Ei UniVibe
•  Ibanez DM-2000 digital delay
•  McMillen 12-step midi keyboard foot controller (see the bottom of the 2018 Spring TAB Tour entry for a full explainer).

Full Frontal TGR
Here’s the Full Frontal pic from Gorge Night 1.  Mostly status quo in terms of amplification, but the Ambikabs are up on small risers for more consistent sound from stage-to-stage.  One head is a spare, but the cabs are cross-mic’d, so that the 12″ speakers from one cabinet are used with the 10″ speakers from the other, and vice versa.  One half of each cabinet is a spare, such that the cabinet with the live 12″ speakers has 10″ speakers that are not in use unless the other 10″ speakers fail.  The result is a very wide soundstage behind Trey.  Also note the Leslie G-37 rotating speaker on our right.

tilt up rack
Here’s a shot of the Tilt-up table atop the rack.  You can see the POG2 in red, the three Way Huge Supa Puss pedals in blue, the Moog MF-104m delay with wood paneling, and the Beigel Tru-Tron 3x Envelope Filter in white at the top.

2018-7-18 stateline NV floor
Here’s the floor array from Tahoe.   From left: EXP 1: Leslie mix; EXP 2: CHOP speed; RST-24 foot controller; CAE Wah; Digitech Whammy II, Boomerang Phrase Sampler, Keith McMillen 12-step foot controller, EXP 3: Loops.  Note that both Komet amps are labeled “EL-34” at this point. That will change by the time the band arrives at the Gorge.

6L6 gorge
Here’s a shot of the back of the Komets from the Gorge.  The big glass bottle tubes are a clear giveaway that Trey has switched to 6L6 tubes at this point.

Komet 6L6 - Puss - Biegel
Here’s a better shot from the Gorge (night 2) of the Beigel Tru-Tron 3x and the top 2 Supa Pusses.  Most importantly, note that the label on the Komet amp (white writing on black tape affixed to the top; bottom left of photo) has switched from “EL-34” to “6L6”.

Wah Work JPG.jpg
Trey works the CAE Wah at the Gorge night 1.  Whammy and CAE RST-24 on either side.

Leslie Mics JPG.jpg
Here are the dual mics on the horn rotor of the Leslie G-37.  They are Sennheiser 409’s.

MarMar-Waste Gorge
Blonde No. 1 (or “Mar Mar”) was tuned down a full step.  Trey used it for Waste, which Phish played in its original key of C for the first time since 1996.  The song was played in D from 1997 through 2017.  The song’s chord voicings are all written out of D, so playing it in C requires a second guitar tuned down a full step.  Trey had started carrying a spare acoustic guitar to play Waste in C during his solo and TAB tours earlier in 2018.