Trey continued to run the smaller RST BASE model combined with two RST 4-channel Expanders as the core switching function at the heart of his guitar rig for Summer 2023. The number of effects units in the rig was relatively small compared to recent years, but Trey squeezed enormous amounts of effects power out each of them, none more so than the Line 6 M5 Stompbox Modeler, which got additional preset banks in the RST system to broaden its capabilities.

The Looptrotter Monster Compressor that was prominent at Trey Trio and some TAB shows was on stage for Summer Tour and mostly behind Trey’s rig facing back. The Ross Compressor was also in use at least intermittently throughout. We talk more about the Monster below.

We’re excited to share that Trey is using a new humbucker set designed by James Finnerty at Rewind Electric. These pickups were designed in Summer 2021 and installed in the guitars shortly thereafter. More recently, the wiring harness in Trey’s Koa 1 guitar was replaced with a 50s-style wiring harness, which eliminates the coil drop and series/parallel functionality. James is calling this PAF-style humbucker the “TAF” for obvious reasons. More on these and the rest of the rig below.

Electric Guitar Amplification:

• 1 x Trainwreck Express

Electric Guitar Cabinets:

•  Bruno 1 x 12.  This cabinet is mic’d with a Royer R-122V vacuum tube ribbon mic and a Shure Beta 57a. There’s a second Bruno 1×12 as backup, but it was occasionally used as a second primary, creating a 2×12 array.
•  Leslie G-37 guitar rotating speaker (triggered by a Boss FS-5U at Trey’s left foot)

Electric Guitars:

•  Koa 1.   Single output, no push-pull, no coil drop switches, no series/parallel.  This guitar uses 50’s wiring for a super simple and very toneful setup.

Electric Rig Effects:

Gain/Overdrive
•  2 x Tube Screamer (vintage TS-808)
•  Ross Compressor
•  Looptrotter Monster Compressor 2 (behind Trey’s rig facing rear)

Voicing
•  Digitech Whammy II.   
•  CAE Wah. 
•  Line 6 M5 Stompbox modeler PRE.  The PRE unit is at the beginning of the effects chain and has multiple presets, including: “Growl”, “Synth”, and “Octave”.  

Time-Based (reverb and delay)
•  1 x Way Huge Supa Puss
• Line 6 M5 Stompbox modeler POST.  The POST unit is at the end of the effects chain and has multiple presets, including: “1024” (designed to emulate the Ibanez DM2000), “Sweep Echo”, and “Reverse”.
•  Boomerang Phrase Sampler (ONCE effect is triggered by an FS-5U above the Whammy)

Modulation
•   Nux Monterey
•   Victoria Reverberato (triggered by a Boss FS-5U at Trey’s left foot)

Wet Rack
•  Bricasti Design Model 7 Stereo Reverb Processor. The Bricasti is a studio reverb that takes a split from the Bruno cabinet mic, adds reverb, and then sends it directly to Trey’s in-ear monitors and the front-of-house mix for the audience to hear. Previously, they had sent the reverb signal into stereo 1×12 “wet” speakers that sat on either side of the Bruno 1×12. Because the signal is going straight to the mains and monitors, those additional speakers have been removed.

Screen Shot 2023-09-02 at 2.39.07 PM
This photo (via Mike’s instagram) from Alpharetta gives us a good idea of the full rig. The Boss FS-5U pedals at Trey’s left foot (Fishman’s feet in this pic) are Leslie on/off and Reverberato Tremolo on/off. The switch above them is Trey’s talkback mic. On the bottom right, you can see the MXR Noise Suppressor that quiets the Boomerang and the FS-5U that triggers the ONCE function on the Boomerang, used in Heavy Things. The Expander at the top has three settings – JEDI (the classic tremolo stutter that sounds like a light saber), Platter, and Sweep. At bottom I can read REVERSE in the center button. There appears to be only a single Tube Screamer at this point in the tour.
7-15 alpharetta marked
Here’s a look at most of the floor array from Alpharetta on July 15. At Trey’s left are the two Leslie G-37 controls. The large board in the middle has the RST BASE plus two expanders. And the M5’s are on either side of the expanders. You can see the wah above Trey’s foot. His leg is obscuring the Whammy. The Boomerang and Victoria Reverberato are to his right.
7-28-2023 marked
For some shows, including this July 28 show at MSG, Trey used both his main and backup speakers to create a 2×12 array. You can see the gray Ross compressor at the corner of his board.

2023-07-12 board close
In this close-up of the floor array from July 12, you can see the Ross compressor again. The switch in the bottom right of this photo is Trey’s talkback mic, which he can use to communicate with the band. On the RST BASE, you can see the yellow tape around the top left switches. Those allow him to scroll through the various preset banks that control the M5. Each RST expander has four switches and controls an M5. One is for PRE and the other for POST. One of the four switches is dedicated to bringing the unit in or out of the chain. So that leaves only three presets for each unit. But with these “BANK” controls, Trey can add three new presets for each bank, making the number of presets available effectively limitless.

new TAF pickups
These are the Rewind pickups that went into Treys guitars in 2021. On his website, Finnerty says: “In the summer of 2021, James Finnerty worked with Trey Anastasio and his tech Justin Stabler to custom design some PAF-style pickups and electronics for voicing Trey’s amazingly unique style and equally unique Languedoc guitars. These ReWind Electric pickups that James designed have remained in the guitars ever since, with almost no variation among the several different Languadocs in rotation. These pickups are not replicas of any one set of P A Fs, like many models on this page. Rather, they are an amalgamation of design features and materials taken from several different P A Fs, with some particular embellishment in coils, based on applied knowledge from study and repair of vintage P A Fs, specifically crafted to compliment the unique voice of the Languedoc guitars. Now, the sound of those custom design pickups are available to everyone. Of course, the pickups are only a small slice of Mr. Anastasio’s wonderful guitar tones so you’ll need the right instrument, rig, technique, and a lifetime of practice if you want to get close. Having a great tech like Justin and a touring support crew of 19 semi trucks wouldn’t hurt, either!”

TAFs final version marked
This is the version of the TAFs that are currently in Koa 1. These pickups were installed with the 50s wiring schematic in July 2022. Note the braided shield hookup leads on these, as opposed to the plastic insulated wiring on the 2021 set. Photo courtesy of Rewind Electric.

2023-08-04 - MSG backstage
In this photo from backstage at MSG on August 4, you can see Trey’s simple backstage practice rig. A Fender Princeton Reissue, a CAE Wah, and two TS-9 Tube Screamers powered by a Voodoo Labs Pedal Power.

2023-08-25 marked
This photo from August 25 at SPAC gives us a good view of the whole rig. Under Trey’s right knee, you can see the Trainwreck head. At bottom right, you can see the G-37 and the custom Bruno 1×12. At bottom left, you can see the pedals that are brought in and out of the chain by the RST system. From left they are: 2xTS-808 Tubescreamers, 1 Way Huge Supa Puss, 1 Nux Monterey, and 1 Ross Compressor. Just above the Ross is one of the two Line 6 M5 pedals (POST). The PRE M5 pedal is at Trey’s right foot side.

looptrotter tweaking
In this beautiful capture by Rene Huemer, Trey is working on tweaking the settings of the Looptrotter Monster 2 Compressor after soundcheck. His Trainwreck is in the foreground. July 25, 2023.

Monster2-Front-1
This is the Looptrotter Monster 2 Compressor (source: Looptrotter.com). As the picture suggests, it’s a very powerful and sophisticated studio tool. Vance Powell, who has done engineering and production work with Trey, used these in studio. Looptrotter says: “Monster Compressor 2 is a device with a „right in your face character”. It was redesigned to complement the „soulless”, „super clean” digital technology and by adding color and life. The compression module evens the signal in a very pleasant and musical way, before the tube saturation. The unique combination of compression and tube saturation makes the sound seem distinctly closer, every detail stands out and gives the energy to the processed sound. It makes the sound more tactile and ear friendly.”