The 12″ speakers are Celestion Heritage 65’s. Each Ambikab has its own effects loop with a Source Audio Ventris Reverb and an Eventide TimeFactor. 6L6 is a blackface-to-tweedy Fender sound with a strong mid-focus, while the EL-34 is a Marshall sound, with an even more aggressive, muscular low end.Īmbikabs: 2 Komet Ambikabs. One has 6L6 tubes and the other has EL-34, with the 6L6 being used most often. Heartfelt thanks to Michael, the Phish organization, and especially to Trey Anastasio, who has been an enormous influence on my musical and creative pursuits over these many years, and who was more kind, gracious, and generous with his time than I could have imagined.Īmplification: 2 x Komet Trainwreck 60.
#Trey anastasio guitar rig update
I’ll update this over the course of the tour. Given that, the rig explainers we do here at TGR really are snapshots of a moment in time, which is why I generally have dates attached to photos.īelow you’ll find the usual rig rundown format that has appeared in previous tour notes over the years, but I’ve interspersed information gleaned from my conversations with Trey and Michael.
It’s constantly changing – so much so that they keep a label-maker on hand to replace the labels on the RST-24 on the fly. On 10/23/18 in Nashville, they’d added the EHX Key9 and Boss OC-2. During soundcheck, Trey requested the addition of a second POG2 for the same reason. Earlier that day, they had installed a second Tru-Tron so that Trey would have access to two settings without toggling manually.
When I arrived on stage, Trey had just asked that the Ross Compressor be returned to the rig in place of the Klon. The pedal drawers and rack-top are designed to allow for pedal rotation, with velcro fasteners, interchangeable power cables, and spare parts available in abundance when changes are necessary. In early Fall, the “voicing” pedals (all the EHX pedals and the OC-2) and the compression were particularly in flux.
#Trey anastasio guitar rig full
I’d heard this before, but didn’t appreciate the full extent of it until I saw it in person. The second big takeaway was that the rig is really dynamic from night to night. Another example: they have an outboard foot controller that toggles through specific “favorite” presets on the Whammy II (Trey only uses a handful of the 12 settings), but as convenient as that sounds they find the additional pedal distracting from the fundamental task of making music. For example, one reason they moved the gear rack behind Trey is that it was impeding communication between Trey and Page when it was between them. That means that, as complex as the rig can appear, they’re making efforts all the time to keep it as simple as possible and facilitate communication with Page, Jon, and Mike, and with all of us in the crowd. One big takeaway from my tour is that the most important thing Trey thinks about in its construction and maintenance is his ability to express himself musically and focus on what the audience and his bandmates need, not the technology. As many readers already know, I had the amazing opportunity to visit the rig at soundcheck on 10/20/18 and chat a bit with Trey and his guitar tech, Michael Kaye, about how it all works.
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