These have been used extensively early in the tour for guitar-synth and bass-synth like effects, including Ring Modulation. One is labeled “PRE” and the other “POST”.
This is powered by the Komet K60 and serves as the Wet rig. 1 x Komet K60 to reamp the effects on the wet side before the 12″ wedge speaker providing the wet sounds.1 x Trainwreck Express (“Jan Marie”, formerly known as a Special Guest Amp or SGA).These Line 6 units do not live in the wet/dry loops as previously reported. 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. Line 6: Relatedly, there are two Line 6 M5 stompbox modelers atop Trey’s rack. 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. 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. One side goes direct to the Bruno 2×12 for the Dry tone. There’s a splitter box hidden out of sight that pulls some sound from the main Trainwreck amp and splits it. The Robert Keeley customized Eccos pedals remain in the rig to provide reverb/delay in the Wet channel. The Wet rig is powered by the Komet K60 sitting behind Trey’s rig. It’s loaded with the same 12″ Celestion as the Dry cab.
This is the wet speaker that handles the post-amplification reverb and delay. Note that there is a monitor wedge elevated behind Trey. The Bruno 2×12 is supplying the Dry speakers (2 x 12″ Celestion G12-65H). Wet/Dry: Trey and his team appear to have assembled their own Wet/Dry rig to replace the Ambikab. 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. The fingerboard and tailpiece are ebony, which is typical of Paul’s guitars. 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 4.0 guitar (pictured above in Arkansas): We expected this one! Trey introduced this guitar to the world via social media on Januas “The 4.0” guitar. There appear to be a few significant changes since last we checked in with Trey’s rig: Screenshots always appreciated! Thanks, now on to the gear…
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. 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.
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