Welcome back!  I’m posting my rundown at the beginning of tour in the hopes that you all can help me over the next few weeks to find the right photos, flesh out the details, and totally nail down the 2021 Summer Tour Rig.   My email address is at the right side of this page under “About Me” so please reach out if you see anything over the next few weeks that I haven’t already included below.  Screenshots always appreciated!  Thanks, now on to the gear…

There appear to be a few significant changes since last we checked in with Trey’s rig:

The 4.0 guitar (pictured above in Arkansas): We expected this one!  Trey introduced this guitar to the world via social media on January 15, 2021 as “The 4.0” guitar.  He described it as having “a glistening harmonic laden high end, a warm fundamental note, and wicked sustain.”  It’s top, back and side are made from Koa (Trey’s seemingly favorite electric guitar tonewood), and the binding is made from holly rather than plastic (Koa 1 and 2 have plastic binding).  The fingerboard and tailpiece are ebony, which is typical of Paul’s guitars.  The 4.0 Guitar has two outputs jacks and a single mini-switch, and I’m guessing that, rather than a coil drop or series/parallel, this switch is for is the a/b configuration Trey employed during The Beacon Jams and as early as NYE 19-20.   More on this guitar here.

Wet/Dry:  Trey and his team appear to have assembled their own Wet/Dry rig to replace the Ambikab.  The Bruno 2×12 is supplying the Dry speakers (2 x 12″ Celestion G12-65H).  Note that there is a monitor wedge elevated behind Trey.  This is the wet speaker that handles the post-amplification reverb and delay.  It’s loaded with the same 12″ Celestion as the Dry cab.  The Wet rig is powered by the Komet K60 sitting behind Trey’s rig.  The Robert Keeley customized Eccos pedals remain in the rig to provide reverb/delay in the Wet channel.  There’s a splitter box hidden out of sight that pulls some sound from the main Trainwreck amp and splits it.  One side goes direct to the Bruno 2×12 for the Dry tone.  The other side is reduced to line level and sent it to the Wet side Keeley Eccos, which is then re-amped by the Komet 60.  The key differences between this and the Ambikab are (1) the Wet speaker is 12″ instead of 10″, so it balances more robustly against the Dry side and (2) the re-amplification is done with a Komet K60 tube amp rather than the solid state amp in the Ambikab.

Line 6:  Relatedly, there are two Line 6 M5 stompbox modelers atop Trey’s rack.  One is labeled “PRE” and the other “POST”, so that he can use these models either in front of his octaves/delays/whammy/etc or after them for a different sound.  These Line 6 units do not live in the wet/dry loops as previously reported.  They are in front of the amp.

Electric Guitar Amplification:

•  1 x Trainwreck Express (“Jan Marie”, formerly known as a Special Guest Amp or SGA)
•  1 x Komet K60 to reamp the effects on the wet side before the 12″ wedge speaker providing the wet sounds.

Electric Guitar Cabinets:

•  Bruno 2 x 12
•  Leslie G-37 guitar rotating speaker. 
The Leslie is back!
•  Monitor wedge behind Trey.  This is powered by the Komet K60 and serves as the Wet rig.

Electric Guitars:

•  The 4.0 Guitar (first time used with Phish)

Electric Rig Effects:

•  2 x Tube Screamer (vintage TS-808)
•  Klon Centaur Overdrive
•  Ross Compressor

•  Digitech Whammy II
•  1 x Electro Harmonix (“EHX”) POG2
•  EHX Key 9
•  CAE Wah
•  Beigel Tru-Tron 3x Envelope Filter

Time-Based (reverb and delay)
•  2 x Line 6 M5 Stompbox modeler.  One is labeled “PRE” and the other “POST”.  These have been used extensively early in the tour for guitar-synth and bass-synth like effects, including Ring Modulation.
•  Boomerang
•  Eventide Space Reverb
•  Customized Keeley Eccos Glazed Edition delay and reverb for wet/dry rig.
•  3 x Way Huge Supa Puss atop rack: (1) set to quarter note, (2) set to dotted eighth, (3) set to tapped 1/4 note and low in the mix, a “thickener” they call “SOAR”. All have the R79 resistor removed from the printed circuit board, allowing for a smoother curve or more linear slope on the mix control.
•  Ibanez DM-2000 digital delay
•  Digitech Obscura (for reverse delay)

•  Victoria Reverberato
•  Shin -Ei UniVibe
•  CAE/Black Cat Super Tremolo (usually for CHOP)

Above we can see the racktop, with the dual Line 6 M5 Stompbox Modelers, three Supa Pusses, a POG, and a Tru-Tron.

Rosetta 2 JEDI
This “Rosetta Stone” shot gives us a very good idea of what’s in the rig for Summer tour, including a JEDI switch. There are at least 6 switches dedicated to the M5 pedals, which are the result of a collaboration between Bob Bradshaw at CAE and Trey and his team in an effort to create a control surface for the M5’s. It appears as if two of those switches are simply bypass switches that bring those pedals in and out of the rig. My guess is that the four switches at the top row are some kind of BANK/Preset switches to give Trey control over which effect he wants to select on the fly.


jan wet 8ohm
Critical info on the back of this speaker, which says “JAN WET 8OHM FROM KOMET.” This confirms that the Komet K60 is powering the Wet side rig, and this wedge is the Wet side speaker.


The floor looks fairly standard.  Boomerang, Whammy II, CAE Wah, and then CAE RST-24 controller.  


full frontal
Here’s a full frontal look.  Center, a SGA sits atop the Bruno 2×12.  Leslie is at right. Th effects rack is at left, and the visible rack contents are as follows, with a line for each rack from top to bottom: (1) Tru Tron, M5, M5 (POG and 3 x Supa Pusses in back row) (2) Keeley Custom Eccos x 2 sitting on CAE Supa Trem, Eventide Space Reverb (3) Power Conditioner (4) Ibanez DM-2000.   (5) Digitech Obscura, Key 9, Shin Ei Uni Vibe.  (6) 2 x TS-808, Ross Comp.


victoria and wet mic
From behind, you can see the Reverberato at bottom right.  The wedge that I believe is being used for the wet/dry setup is directly behind Trey and it’s mic’d, which is how we know for sure it’s not a monitor.  Trey has added a second RST expander (for more control switches) and moved them from the top of the board to the bottom, which means the whole RST rig has likely been reprogrammed. 


Here’s a look at the rear of the rig. There’s a Komet K60 on the floor facing us, and it is used to power the “wet” speaker above it for the time-based effects coming from the Keeley Glazed Eccos.

Here’s the Victoria Reverberato in Alabama.


wah work
Here’s Trey working the CAE wah in Arkansas.


Above is an absolutely gorgeous shot by Phil Clarkin with the contrast bumped to really highlight the wood grain on the new guitar.


Here are some examples of the M5 at work this summer: