Trey used a pared-down rig for Ghosts of the Forest.  That may have been because the stages were a bit smaller, but the pared-down rig continued through Summer 2019, so perhaps there were other forces at play.  I know that players are often trying to balance the push for continuous rig expansion with the drive for simplicity.  This was as simple a rig as I’ve seen Trey bring out in years.  It’s geared more toward rock and roll, and the more ambient-oriented tools are pared back, which is appropriate for what this band was doing.

I don’t have a lot of great photography from this tour.  If you have anything, please send it to me using the email address on the right side of this website, or via Twitter or Facebook.  The material this band played through for this tour was pretty heavy, and I found it beautiful and moving, and I didn’t feel all that comfortable poking around doing gear-oriented interviews or shining a light on gear talk via social media while the tour was ongoing.  That said, the below is what I’ve gathered:

Amplification: Komet Trainwreck 60.  EL-34 tubes.  Gene Sinigalliano at Ultrasound did a tube-roll of this amp with Trey prior to the GotF tour and they found some hot new sounds using NOS tubes.  See below for a detailed tube chart.


Komet Ambikab.  Ambikab has its own effects loop with a Source Audio Ventris Reverb and an Eventide TimeFactor.  The 12″ speakers are Celestion Heritage 65’s.

Leslies:  At some point during the tour, the guitar Leslie (G-37) was removed from the rig.  There were no MacBook samples being trigged by the McMillen 12-step for this tour so the second Leslie wasn’t present either. There were Leslie controls (a Leslie speed selector switch and a volume expression pedal that controls the Guitar Leslie volume) while the Leslie was on stage, but they disappeared early in the tour when the Leslie was removed.


Electric:  Koa 1.

Acoustic: 1933 Martin 000-28

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.


•  2 x Tube Screamer (vintage TS-808)
•  Klon

•  Digitech Whammy II
•  2 x Electro Harmonix (“EHX”) POG2
•  EHX Key9
•  2 x Beigel Tru-Tron 3x Envelope Filter (second added 10/20)
•  CAE Wah

Time-Based (reverb and delay)
•  Boomerang
•  Eventide Space Reverb
•  Source Audio Ventris (Ambikab Loops)
•  Eventide TimeFactor (Ambikab Loop, set to DIGI)
•  2 x Way Huge Supa Puss atop rack (both have the R79 removed from the printed circuit board, allowing for a smoother curve or more linear slope on the mix control.  One is set to quarter note, the other to dotted eighth.)
•  Ibanez DM-2000 digital delay

•  Victoria Reverberato (used only for Trem on Phish tour, but Reverb is used on Acoustic Tour and in the studio. Trey called the Reverberato loop his “warm switch,” since the extra tube stage warms up the signal noticeably)
•  Bradshaw Custom Super Tremolo (for CHOP)
•  Shin -Ei UniVibe

Here’s just about everything via a reader photo. Note the Leslie controls at the bottom-right of this photo from Philly. They’d disappear later on.

Note that in this photo, the Leslie controls (which should be at bottom where that empty velcro is sitting) are gone.

A brief glimpse at the rack top. I see two POG2’s, two Supa Puss delays, and 2 Beigel Tru-Trons.

Komet Tubes:

V1 – Input gain stage – NOS Amperex 12AX7 from Holland which is a mid scoop tube with lots of upper and lower end harmonics

V2 – Tone driver – NOS 12AX7 Mullard from UK which is a mid forward tube with a big fundamental note

V3 – Phase inverter – NOS Brimar box plate from UK which has smooth balanced mids and lush sonics

V4 & V5 – Power tubes – NOS Mullard from UK  XF3/4 staple plate EL34s which have a less pushy midrange

V6 – NOS Mullard from UK GZ34 which adds tightness and definition.