The rig for 2019 Summer Tour shows more significant changes than we’ve seen to this setup for some time; perhaps since the big 2017 overhaul. Before we get in to details, it’s worth noting that the rig appears to be in a somewhat dynamic state, as is often the case early in a tour. All the below is a snapshot, and is subject to change as the summer goes on. That said, there are a few alterations that require special note:
- As of the STL openers, both Leslie G-37 rotating speakers are gone (more below).
- [EDIT: See note] Trey is down to a single Ambikab, where previously there were 2. (Note: as of Merriweather, the second Ambi is back, acting as a cab for the 5881 head).
- [EDIT: See note] Trey is using a Fender 1965 Deluxe Reverb Reissue for some clean tones; see the “Stash” they played on the opening night in STL for an example. (Note: it’s unclear whether the DR was ever actually used as an amplifier. The cleaner tones may simply have been a function of the gentler 5881 tubes in the second Komet, with the DR acting only as a 1×12 speaker cab).
The overall trend seems to be toward simplicity. As is often the case early in a tour, a few things are still being worked out with respect to amps and speakers. That said, Trey’s equipment is definitely taking up noticeably less space on stage than it has in recent Phish tours (his rig size is closer to a TAB or GotF tour), and in STL his pedal rack was covered by a black cloth (see below), presumably to mitigate any tendency it may have to be distracting.
There’s a natural tendency as a guitarist to want to expand your rig to give yourself the greatest possible tonal flexibility and the maximum number of effect options in order to enhance your ability to impact the listener. That tendency is always in tension with musicians’ desire to keep the technology in front of them as simple as possible in order to ensure that their primary focus is on the core functions of musicianship and musicality. The technology can sometimes be distracting. It’s a fine line, though, because effects and tone can drive musicality in positive ways, too. Over the last few years, we’ve seen this push-pull in Trey’s rig, including the total rebuild in 2017. We’ll see where the push-pull takes us through 2019 and beyond.
Note: several of the photos in this post come courtesy of Robert Keeley, proprietor of Keeley Electronics, who toured the rig in STL and posted some pictures on social media. Keeley makes some of the most phenomenal boutique guitar gear in the known universe, including a legendary line of compressors, among other things. If you haven’t seen his work, check it out. We’re in his debt for getting these excellent shots. Additional shots were provided by TGR reader AT, who also provided some email commentary summarizing what he saw in STL. Thanks AT!
Amplification: 2 x Komet Trainwreck 60. One has 6L6 (5881) tubes and the other has EL-34. The 6L6/5881 amp runs to a hidden, dedicated 1×12, while the EL-34 amp runs to the Ambikab we can see from the audience. There is a Deluxe Reverb behind the rig for clean tones, and it runs to its own internal speaker. It has been suggested that the DRRI is just serving as a speaker cab for the 5881. This remains to be determined. (Note: as of Merriweather, we know that the DRRI is gone, and the 5881 amp is for clean tones, and is running into a second Ambikab).
Cabinets:
Ambikabs: 1 Komet Ambikab. The Ambikab has its own effects loop with a Source Audio Ventris Reverb and an Eventide TimeFactor. The 12″ speakers are Celestion Heritage 65’s. (A second Ambikab was added as of Merriweather for the 5881 head).
Leslies are removed: The Leslies that was dedicated to guitar has been replaced by a Boss RT-20 Rotary Ensemble, which is a digital Leslie emulator. The Leslie that was used for the samples coming from the McMillen 12-step is gone and those samples now run direct-to-board.
Guitars:
Electric: Koa 1. Ocelot is backstage. Blonde No. 2 for “Pebbles and Marbles.
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:
Gain/Overdrive
• 2 x Tube Screamer (vintage TS-808)
• Klon
• Ross Compressor (as of STL, the Ross Compressor was IN; as of Merriweather, it was OUT)
Voicing
• Digitech Whammy II
• 2 x Electro Harmonix (“EHX”) POG2
• Boss OC-2 Octave Pedal
• EHX Key 9
• 2 x Beigel Tru-Tron 3x Envelope Filter (one sweeps UP, one DOWN)
• CAE Wah
Time-Based (reverb and delay)
• Boomerang
• Eventide Space Reverb (this was briefly set to REVERSE, but returned to Centaurus mid-tour)
• Source Audio Ventris (Ambikab Loop)
• Eventide TimeFactor (Ambikab Loops, set to DIGI) (Note: a second TimeFactor, set to Band, was added 7/3 before the amplifiers)
• 3 x Way Huge Supa Puss atop rack (all 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; the third acts as a mild echo and was used very frequently during early Summer 2019 but was replaced by the TimeFactor BAND on 7/3)
• Ibanez DM-2000 digital delay
Modulation
• Victoria Reverberato
• Bradshaw Custom Super Tremolo (for CHOP)
• Shin -Ei UniVibe
• McMillen 12-step midi keyboard foot controller (see the bottom of the 2018 Spring TAB Tour entry for a full explainer. Note: this now runs direct to FOH.)
Is Trey able to scroll through his three amp possibilities all with the same AMP foot switch on the RST-24? If not, how is he accessing the Deluxe? Also, how is he hearing the Deluxe, through a monitor? Just curious on all of these changes. Also, it appears that they’re using a wireless system for the guitars -?
Awesome as usual, Ryan! Thank you!
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Also, it looks like the top Supa Puss is set for a lower volume and repeats, whereas the Supa and Puss delays are set for a stronger volume with more repeats.
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I’m not 100% sure how this is working at this point. It’s a moving target at the moment, I think. I’ll find out what I can and report out in the coming weeks.
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If you look close at the Supa Puss’ they’ve been modified to have the expression pedal jack be the input for tap-tempo control (some pictures I’ve seen seem to have one plug with 2 cables coming out of them like a y-cable. Maybe they’re always in-line and one cable acts as a bypass switch allowing the trails feature to function?). The third one in this setup has nothing plugged into that jack. My guess is that it’s a quiet, almost reverb-like echo, that isn’t tempo specific. All I can say for certain is that he, and the whole band, sounded amazing during the first 2 nights in STL!
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SupaPuss has a start up which makes exp accept tap switch
Trails doesnt apply as each supa is in a loop
I think this was covered previously, but the rig is a moving target.
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Any changes documented as of roo yet? I could have sworn I heard the MF-104 at the end of DWD ?
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very interesting that the fender faces backwards. if i had a pricy tech, i would prob tell them to run all into one cab or at least one general area. pretty big change for trey to rely on monitors for primary guitar reinforcement (even just for clean )
love the clean fender tone not try for some clean leads sometimes
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Totally, you can take all the speaker wires and twist them together so that 1 speaker gets all the sound.
then the next day you have to buy all new amps…
Seriously, There are load/speaker switchers like the radial, but if some 2¢ part fails inside your amps are smoked, and thats hard to come back from.
I figure that Trey has the cabs, monitors etc set for how he likes it onstage- he did Kasvot with wedges and probably uses studio monitors when recording- so with good mics maybe he has what he wants
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I’m trying to see the brand of tubes in the 5881 head. I barely see some red printing on the preamp tubes. Can anyone identify the preamp or power amp tube brands? I thought he always used NOS RCA stuff
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Trey’s amp guy at UltraSound, Gene sources tubes from Hi Test Guitars
I saw pic of mullard el34’s and phillips 6L6’s before- the 60’s 5881 from rca is a pretty darn good tube
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Funny. I noticed that too. It’s just modern production Sovtek 5881/6L6s and JJ
preamp tubes in the purple Komet. It’s easy to see when you zoom in.
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I noticed in the Bonnaroo webcast Trey is running a wireless signal from the guitar now. Obviously the NYE stunt was wireless…but when did he make the leap to wireless? Or was it just for ‘roo so he could stand out on that podium thing out in front of the stage?
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Kasvot, too. He seemed really pumped up for ‘Roo and wanted to be able to wander. Looked like fun! Generally, he’s been wired.
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Seemed like the tone at Bonnaroo was particularly wet — like there was an always-on delay or reverb, or a combination of both. Any idea what he’s using for that?
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There’s an always on Reverb — the Source Audio Ventris — in the Ambikab loops. There’s also a very mild delay labeled “ECHO” (it’s another Supa Puss) that I believe was on for a lot of the night.
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If you look closely at the picture of the Komet/Reverberato/DR stack, there’s nothing plugged into the input of the DR. More evidence that it’s being used as a slave speaker for the 5881?
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Does Trey typically use the Key9 (formerly B9) along with the RT-20 (formerly Leslie)? Is that how he achieves that choppy, watery keys sound (think I heard it during the recent Trey Trio tour, and definitely during a few songs this tour)
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Also: anyone know which setting of the Key9 is he using? The dial in the pic looks to be pointed toward mallet(?). And I think he used the ‘Octave’ on the B9.
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Trey achieves this “choppy-watery attack-decay reverse-swell” effect with his Electro-Harmonix POG-2 pedal. To dial in this effect:
-Adjust the ‘DRY OUTPUT’ around unity gain.
-Route the dry signal through the ‘ATTACK’ decay slider so that it’s turned down a bit below the mid-center line. (As the ‘ATTACK’ decay slider is pushed upward, the attack time increases producing a swell or reverse effect. Push the ATTACK slider down to its minimum position to turn the attack effect off.)
-Make sure the DRY FX’ is turned on.
*Note: Electro-Harmonix recently re-issued the ‘Attack Decay’ pedal, and it performs the exact same “choppy-watery attack-decay reverse-swell” effect. (This circa-1980 Electro-Harmonix Attack Decay is a sought after prize among vintage pedal aficionados. Originally called a Tape Reverse Simulator, it’s known for producing volume and reverse swells, backward tape sounds, artificially short staccato notes and bowed instrument effects.)
*Note: Trey has two of POG-2 pedals. The other one is used for a “dry signal + two-octaves down” polyphonic octave effect.
*Note: The Boss OC-3 Super Octave will also produce Trey’s “dry signal + two-octaves down” polyphonic octave effect, which I think is a little easier to dial in.
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He uses the mallet setting on the K9 on Reba night 3 from Camden
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They’re used together sometimes for sure, not necessarily always.
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Can anybody tell what brand tubes are in the 5881? I can see some red labels on the preamp tubes that I can’t identify, possibly Ruby? The 5881’s look like sovtek maybe?
Kind of run of the mill tubes for such a high end amp. Any insight would be great!
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It’s clearly modern production Sovtek 5881/6L6 and it looks like JJ preamp tubes.
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Tube check looks to be all NOS for Trey Tung-Sol 5881’s…Mullard EL34’s but 1 has RCA on it, so the Hitest Guitar tube guys must have matched them or someone is an idiot.
I saw guy with a yellow volt? meter checking the amps on the stage and changing some tubes
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Although Trey used the EHX B9 exclusively for Organ (not Leslie) sounds in most recent tours, he has his EHX Key9 preset on (#4) ‘MALLETS’, and I believe the settings are as follows:
-DRY: 9-11 o’clock (Tip: stack it with envelope filter to find the sweet spot where the
envelope still triggers)
-KEYS: all the way up
-CTRL 1: all the way down
-CTRL 2: 12 o’clock
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Whats the red knob on the top upper left corner of the boomerang?
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It is simply a larger cap that fits on top of the thru mute switch to make it easier to hit and alert one’s attention to it more w the red
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Why am I so irritated at his decision to unplug from his rig? A question for my therapist. I’ll get over it
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So is the expression pedal at the very right controlling the mcmillen loop volume or the boomerang? (and on the McMillen, has he ever actually used it in a Phish show?)
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12 step, yes but not much this run that I could hear.
If it were out, he’d have it gone/out of his way
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My question is what is the signal path for the overdrives? Is it More>less>klon, or Less>More>Klon.
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Check out my Signal Chain page: https://treysguitarrig.com/treys-signal-chain/
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I bet those Ambikabs come back to front facing at Dicks after Trey realized he couldn’t sustain the notes on YEM at Alpine.
Guitar interaction with cabinet is clutch for infinite sustain. Monitors don’t feedback as easily from my experience.
Other than that, tone sounded great this run.
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Does he keep an octave pedal on all the time now? His tone is much deeper. I know he uses the POG and Whammy, I’m wondering if he has the Octave-2 on all the time.
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Nope
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The Komet 60 gives a much richer low-mid response than the Boogie or the Deluxe Reverb. And because of the Komet’s natural distortion, he doesn’t need to rely on the mid-forward tube screamers for gain (though he still uses them).
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Hey Ryan, thanks for all your work. I’ve noticed Trey is using that reverse delay sound (Caspian for example). It seems he has the microverb out and now you said the eventide is set to Centaurus and not reverse…so any idea on what he’s using to get that reverse delay effect he seems to have gone to a bunch on this tour?
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Hi Mike – yes, the Boomerang has a “Reverse Lead Live” function. I sampled it here: https://youtu.be/Pzp66OxyAL0
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Thanks Ryan! Wondering if I can get a similar sound with the Reverse Mode on my Boss DD-500 delay. Any info on the delay time/settings to recreate the Boomerang sound on the Boss? https://youtu.be/CgJmzOemc_Y?t=112 –
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Thanks for all your incredible work! The only shows I attended this summer were at Alpine and the single ambicab was not there. I couldn’t tell what was there instead. Any ideas? I have a pic but not sure if I can post it.
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It was there; both Ambikabs were behind the rig facing backward for Alpine Valley. I snagged a screenshot of this and tweeted it, but I’ll add it to this rundown. Thanks!
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The following segment almost brought a tear to my eye…. this phenomenon is a constant struggle and push and pull between what you want to have to offer the listener and the music… and what is truly realistic. Thank you. #thestruggle
“There’s a natural tendency as a guitarist to want to expand your rig to give yourself the greatest possible tonal flexibility and the maximum number of effect options in order to enhance your ability to impact the listener. That tendency is always in tension with musicians’ desire to keep the technology in front of them as simple as possible in order to ensure that their primary focus is on the core functions of musicianship and musicality. The technology can sometimes be distracting. It’s a fine line, though, because effects and tone can drive musicality in positive ways, too.”
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I noticed the main Cab was covered up on 7/14/19. Is this an Ambikab?
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It was not; both Ambikabs were facing rear. That was just a stand for the Komet 60.
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I just added a photo of the rear-facing Ambikabs.
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Looks like Trey and Mike were no longer wireless, at least at Alpine from what I could see.
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Hey Ryan, does Trey run the More or Less Tubescreamer first in line? Do you know if he’s ever stacking the 2 of them now that the Komets have so much gain still? Assuming it’s Klon > Less > More but hopefully you have some insight. Thanks!
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Hey Mike! Check out my Signal Chain page: https://treysguitarrig.com/treys-signal-chain/
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What is Trey using in place of Micoverb, I loved that sound! I have a Strymon Timeline and trying to find a sound in it that would get close
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Source Audio Ventris for basic reverb; Eventide Space Reverb for the big stuff.
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Any insight into why the Klon is before the POG etc and the 808s after?
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Yes. Because of the EQ-specific way the Klon creates overdrive, it winds up being an excellent pedal for driving effects that can use some help tracking notes when generating harmonies/octaves. It’s great in front of the Whammy, as well, and also drives the MuTron nicely.
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Cool, thank you. Though Trey uses it after the Wah and Whammy, correct?
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Any idea how the third Supa puss for mild echo is set? Slap back? It’s not tap tempo’d correct? Any idea of the milliseconds?
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So how often does trey use the pog? I’m assuming the pogs really give him an expansive sound? Also the B9 is that a pretty commonly used one for him? Any songs this past summer where you can really hear the uses of these two pedals? Really thinking of adding them to the rig? And finally was the DRRI speaker the stock speaker that comes in it? I have one myself and see a lot of speaker swaps with it… usually but I’ve kinda of been happy with my speaker in it, if it works for trey it’ll work for me… I’ll be really shocked if he uses the stock speaker that comes with it… not that it’s a bad speaker it at all just cause I’ve read so many people do swaps on them. Obviously he’s using it only for clean tones…as we suspect anyway… but it’s made me wonder on either keeping the drri cause I would really like to have an amp that can get close to treys sound but can’t afford multiple amps or cabs haha… so I’m wondering what one amp might get me close… any help on these questions would be great I realize it’s a lot but I love treys setup… as we all do haha! Thanks guys!
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What kind of guitar strap does trey have?
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