• 2 x Special Guest Amps (“SGAs” – See 2019-20 NYE for more on the SGAs)
• 1 x Komet 60 (backup)
SGA #1 is run completely dry other than the effects in the Ambikab loop. There is a customized Keeley Eccos reverb/delay in the Ambikab loops. Because the Custom Eccos is in an Ambikab loop (post amplification), there is not a single effect — no interruption — between the guitar pickup and the first preamp tube (V1) of the SGA amplifier.
SGA #2 is the “wet” rig, with all the effects in the Bradshaw switcher running in front of it.
• 3 Komet Ambikabs.
The Ambikabs are wet-dry rigs-in-a-box with their own effects loops with separate 10″ speakers. The 12″ speakers are Celestion Heritage 65’s. Trey is using customized Keeley Eccos pedals for reverb and delay functions in all Ambikabs. There were 2 Ambi’s out front and a 3rd connected to the Komet 60 facing rear as a backup.
• Koa 2
• Nash S-57 with Fishman Fluence pickups
• 1968 Martin D-35 tuned to open C
• Ocelot is backstage
• Backup is Blonde No. 2
Mics: Trey’s rig is mic’d by a Shure SM-57 and a Royer SF-12. The SE GuitarF Reflexion Filters are no longer in use.
• 2 x Tube Screamer (vintage TS-808)
• Ross Compressor (it’s not getting used much because of the natural compression characteristics of the Komets and SGA, but it’s still there).
• Digitech Whammy II
• 2 x Electro Harmonix (“EHX”) POG2
• Boss OC-2 Octave Pedal
• EHX Key 9 x 2 (different sensitivity settings)
• CAE Wah
• 1 x Beigel Tru-Tron 3x Envelope Filter
• 1 x Keeley Neutrino Envelope Filter
Time-Based (reverb and delay)
• Eventide Space Reverb (Centaurus algo)
• Customized Keeley Eccos delay and reverb in Ambikabs
• 2 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)
• Ibanez DM-2000 digital delay
• Digitech Obscura Delay (for Reverse delays)
• Victoria Reverberato
• Shin -Ei UniVibe
• Boss RT-20 Rotary Ensemble x 2 (fast and slow; settings 1 and 4. The second Rotary replaced the CHOP).
There may have been some Strange Cranium effects filling space on the stage as well:
Can’t wait to hear more about these SGAs when the time comes. Curious – what are your thoughts on the tonal differences between the SGAs and the Komet 60s?
There must be someone triggering samples off stage. the best example being “Mr oysterhead” chorus call and response bent notes, of which Trey is playing 1/2 of them and the wandering calls have a different tone and vibe than his guitar. You can see that he’s not hitting them too. Also the whammy loops are often in-time, and stop and start for various sections of a tune. though it wouldn’t be impossible for Trey to do this, it would be a lot easier for someone with the samples loaded into a keyboard to keep the whoops and whale calls in time, and pulling up the correct ambient loop for each tune. I think its a good call, since we are all so used to the album.