DJ Gear Smokin' Deals
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I’ve just returned from a 4 day excursion through the wilds of Hartford, CT and Saratoga Springs, NY following the reunited jamband empire that is Phish. If you’ve ever seen a Phish show, or heard anything about them, you know that they are grand achievements in both sound and lighting design, regardless of your opinion of the musical quality. In the next 48 hours, I’ll be posting an exclusive up-close photographic breakdown of their backline and front-of-house rigs, including all the instruments and effects they use, as well as all the gear that populates their legendary soundboard.
I’ll be filling in as many details as I can about the specifics of the equipment they use, plus a brief breakdown of how their industry-innovating Live Phish recordings happen, and recent adjustments to the drum setup. As a bonus, there will be a few more choice shots from the soundboard during the show to show off the majesty of their Chris Kuroda-run lighting design.
Keep checking back over the next day or two as we fill this space with possibly the most detailed photographic document of Phish’s live setup ever published. Please note that in the interest of allowing everybody to enjoy the photos as soon as possible, we will be updating the gear breakdowns over the course of the week. Should be completed by the 4th of July, at which time we’ll start uploading our photo documents of The New Deal and Jojo Mayer/Nerve’s setups.
Trey’s longtime Koa-bodied, Paul Languedoc-built, hollowbody guitar. Info on the guitar from phish.net:
This guitar is all koa with a maple neck, and the same tapered body shape as the second one. The finish on this one is a darker, redder stain, with a slightly different headstock shape, different (even smaller) inlays, and two chrome-covered humbuckers. The saddles are bronze on this guitar as opposed to the bone of the first two. He used this for the first time in October of 1996, and sporadically for the remainder of the year. In 1997, it completed the transition to his main axe, leaving the two blonde ones as backups. Languadoc states that “The koa guitar is the best of all of them because the wood has the most elegant and solid sound of the three.” The electronics consist of a pair of Schallar Golden 50 humbucking pickups.
As has been noted in the comments, this is not the Koa guitar described at phish.net.
Located behind the Languedoc is Trey’s pre-1998 100w Mesa Boogie Mark III head, running in to his classic Langedoc-built 2×12 cabinet, mic’d by an SM57 and an Royer 121 Ribbon mic (thanks John from The Bunker). Behind the main amp rig is a Goff Leslie, full-sized as opposed to the “top” cabinet he used pre-breakup.
Trey’s smaller-than-usual rack currently features the following units:
Furman M8-L Power Conditioner
Korg DTR-2 Rackmount Tuner
Vintage Ibanez DM2000 Digital Delay
Custom Audio Electronics (CAE) Black Cat Vibe
CAE Super Tremolo
Alesis NanoVerb (x2, 1 set for delay, one set for Room reverb)
Alesis Microverb set to a gated reverb
CAE 4×4 Switcher
Trey’s floorspace is currently less cluttered than probably any other point in Phish’s history, and the layout currently prevents Trey from actuating the ubiquitous post-97 delay loops (see: studio version of “Ghost”). Floor setup currently includes (on Trey’s right side):
Footswitch for CAE Tremolo
Expression Pedal for CAE Bad Cat Vibe
Original Boomerang Phrase Sampler
TC Electronics Nova Repeater Delay
Teese RMC Wah (hidden within a Crybaby shell) ->
Ibanez/Analog Man TS9 “Silver” Modded Tube Screamer (x2, one cranked and feeding in to the other) ->
Vintage Ross Compressor (thanks Chris M in the comments)
Trey’s left side is more for controllers than individual pedals, save for the Whammy:
Digitech Whammy II pedal (externally MIDI controlled)
CAE 4×4 footswitch board (for on/off control of rackmounted units)
Boss FS5U footswitches + Leslie control (all for control of the Leslie)
Mike has also trimmed down his rig. Noticeably absent are the small combo amps that formerly perched atop his setup. Main loudspeakers are all powered Meyer Sound cabinets, a pair of 750-P 2×18’s and a pair of MSL-2 15″ 2-ways. (some reports suggest 650-Ps and UPQs, but I’m 99% sure these are the same 750-P and MSL-2’s that Mike’s been using for a little while)
This rack houses all of Mike’s pedal effects, processors, including 2x Eventide Eclipse, and his CAE switching systems.
Expression pedals, CAE switcher (note the button marked “DWD”), and a Boss SYB-5 Synth Bass pedal.
1 of 2 Eden WT800 Heads (using preamp section only)
Meyer Sound Parametric EQ
Korg DTR2000 Tuner
The classic Mike effects we’ve been hearing for years. The pedal effects include:
Lovetone Meatball
Akai Deep Impact
Source Audio Soundblox Prototype Bass Envelope Filter
Source Audio Soundblox Pro Multiwave Bass Distortion
EBS Octabass
Boss BF2 Flanger
MXR 10-Band EQ
I believe that the CAE switchers allow Mike to change the routing of the FX as he sees fit, so as such there isn’t a specific “signal path” to the pedal FX.
Classic Eventide DSP4000, Lexicon LXP-15, and 3 CAE 4×4 Switchers.
For direct processing, another Eden WT800 Head and an Avalon U5 tube-driven instrument direct box.
Here’s a little rundown on Fish’s current setup. I got to chat with his drum tech Scotty for a while after taking the photos and he had a few specific insights as to what’s going on with the kit. For example:
- the 2nd snare is a Yamaha Brass snare that actually belongs to Trey, and is 30-50 years old (I would assume that they had Yamaha change out the lugs with the Nouveau lugs back when Fish was playing a primarily-Yamaha kit). This is the first time that anyone can remember Fish using 2 snares, and despite its presence, Scotty doesn’t remember him hitting it once at the 1st night of SPAC
- the main snare is in fact a DW 7×14, acquired just before this tour. It “cuts” much better than the Black Beauty of old, believe it or not.
- the rest of the kit is a mixture of Noble & Cooley CD Maple toms (thanks Matt in the comments), a vintage Ludwig kick, and no longer includes any Yamaha or Ayotte toms
- the concept behind the tom arrangement is as such
- the 6 and 8 are located off to the left as part of the left-side “percussion” setup, which is allowing Fish to move much more efficiently around the kit, with his elbows tucked in, as he generally prefers
- the 10 and 12 are further left than before, ultimately giving Fish a classic jazz 3-piece arrangement with his bass drum, 12″ tom, and 14″ floor tom. This allows for closer ride placement, a more comfortable posture for Fish, and more use of the 12 for articulations (i.e. the “entrance” to David Bowie)
- the 14 and 16 are where they’ve always been, although slightly covered up by the closer ride
- Fish had been using coated Ambassadors on the toms, but for this tour they’ve been experimenting with clear Emperors, which has made mic’ing the kit much easier
- Earthworks mics on the toms, Royer stereo mic for overhead
- the “little drum” in front of the kick is in fact a Yamaha Subkick, which uses an 8″ speaker as a microphone transducer
- cymbals are a mixture of brands and sizes, mostly older Zildjian, including a vintage Zildjian ride, New Beat hihats, K crash, A Cst splash, etc, some Paiste prototypes, and an odd UFIP and Wuhan here and there.
-hardware seems to be of the “whatever’s lying around” variety
- mostly Vic Firth Peter Erskine sticks
I really can’t beat Alex G from the comments on Page’s setup, so here’s his breakdown:
Rhodes Mk II, made somewhere from ‘75-’79 (the “73″ on it refers to the # of keys). He usually runs this through a phase shifter (now an mxr phase90, previously a maestro), but I don’t see it in the pictures, maybe on the floor?. On top of that is his beloved Yamaha CS-60 polyphonic synth (1977 i think?). Those are super rare and are a pain to keep in tune, hence the Sabine tuner placed on top of it.
1967 Hammond B3 organ going through a Leslie 122 rotary speaker (the classic Hammond setup). The organ was modded by the Goff brothers who added fine control/boost of chorus and percussion, and who removed the tubes, replacing the internal amp with solid state circuitry. On top of that is a Bob Moog Signature Little Phatty synth, which I believe he got fairly recently. The small module to the left of the Moog is a tuner, as the synth is all analog.
Wurlitzer 106p. These were made in the early 70s and sold in sets of EIGHT, all mounted on (the same) folding frame for classroom instruction. The internal mechanics are very similar to a Rhodes, except with reeds instead of aluminum tines, thus the sound is a bit “barkier” if I can call it that. I have never even seen one of these, let alone see someone play one. Page acquired this somewhere along the line during the Summer 2010 tour.
2001 Yamaha C7 grand piano fitted with German Steinway hammers (an exact replacement of the one he used from 93-01) for better attack and brightness. The piano has Helpinstill pickups fed to an Avalon DI and an Earthworks microphone system to capture the piano’s acoustics. Atop that is his Hohner D6 Clavinet fed through a Fender Deluxe amp (shown below). He usually uses a myriad of effects on that, you can see the mxr phase90 on top, but I’m not sure what he has on the floor. Typically a wah (vox recently, crybaby in the 90s), sometimes a boss distortion and/or digitech whammy.
Front of House sound is run by Garry Brown on a Midas XL8 Digital board.
From top to bottom, we have:
Waves MAXX BCL
Crane Song HEDD 192 Signal Processor
Dolby Lake Processor
Apogee Big Ben
Rane C4 Quad Compressor
Empirical Labs Distressor
Midas DL451 Modular I/O
Tascam CD-01U
On this side we have:
API 8MX2 8ch Mic Pre
Crane Song HEDD 192
Crane Song ISIS EQ
Manley Stereo Variable MU Limiter/Compressor
Tascam HD-R1 x2
Midas DL451 Modular I/O
Klark Teknik DN9696 Hi-Res Audio Recorder
Glyph GT103 w/ 1 drive
The left side of the Live Phish racks includes:
Apple Mac Mini
Presonus Firestudio
<unidetified unit>
Presonus FP10 Firepod
The right side of the Live Phish rack contains:
Apple Mac Pro Tower
Glyph GT103 w/ 1 drive
Avid Audio (Digidesign) 192 Convertor
Studio Technologies AN-2 Stereo Simulator
Both Kuroda and his assistant are running full-size MA Lighting grandMA 2’s.
Kuroda’s grandMA2 is equipped with an M-Audio Axiom 61 for tactile control over the lights. The first 2 octaves are marked as “wipes”, the middle octave as “sprinkles” and the last 2 octaves as “scrim ex w/ color”. The black keys with green tape are each marked with different colors. In the scrim section, the keys are marked with letters and numbers. There is also one white key in the sprinkles section labeled “Bowie Pt 2″.
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Hey Chrisphish, are you being serious?
Trey once had more floorspace, but that was when he was using 2 CAE 4×4’s. Most of his effects were kicked using the RS10 Midi controller along with changing channels on his pre amp. He had a on/off and fast slow switch for the Leslie. A Wah, volume pedal, whammy, tremolo switch and expression pedal on the floor. His Tube screamers and comp were in the rack along with his Tremolo, univibe, reverb,Groove tubes power amp, DM2000, CAE 3 channel Pre-amp, tuner ,and i think he had a Roland Phrase Sampler and a Peavey Valverb which was later removed when he put his comp, Boomerang, and Tubescreamers on the floor
“My first show was 11.22.95 (with the 34 min Free following the aborted Rift)”
That was my 4th show! Great one at that.
Thanks for posting this. Very interesting.
to answer my own Q (i figured this out) the answer is yes.. when you run a cranked ts9 into an uncranked ts9, it only adds volume.. which imo explains one of the factors in how he keeps it clean when he kicks it up a notch.. the first ts, the non cranked is already “clipping” so when the cranked one hits the uncranked on it cant crank anymore, as far as distortion.. if you flip it the other way around then yes it will add more dist. i found this interesting…
That’s basically how I have mine set up
Sweet article.
There’s 2 AKG 414s micing the leslie too.
Great work! I can’t get over the classroom panio only sold in sets of 8. Page is the best!
Does anyone know what the drawbar configurations on Page’s B3 are?
hah, 11.22.95 was my first show too…
anywho, great post and great photos. thanks for a peek behind the curtain!
A copy of the band’s tour rider would complete this picture. Anybody have a copy?
This is awesome – thanks so much for doing this. The detail on Page’s gear is great – so detailed. This is definitely the first time I’ve seen a Wurly in his rig and I can’t wait to hear it… I wonder what songs he uses it on!. You wouldn’t happen to know what he runs his wurly, rhodes, and clav through would you? (I.e., does he go direct or run them through tube amps?) Thanks again!
Just wanted to say THANK you SO MUCH for this! I love Mike’s gear! Also wanted to add that Fishman is using a vintage GRETSCH kick drum, not a Ludwig as described.
How did you get access to this? You must know someone on the crew to let you take photo’s of all the equipment. Your so lucky.. What about Bruno? What about his gear?
Big Red is back in shape, thanks to the new guitar.
totally awesome !!!! thanks !!!! alaways wanted to see the details of all musical hardware and instruments they use. I love Phish 4 ever
Great article/feature. One of the only things I disagree with, however, is the comment re: Trey’s purported inability to create delay loops (Ghost, etc). Not only have I heard the loops since this most recent configuration, but I cannot even fathom the signal path route that would preclude him from creating the loops. Actually, the only way possible would for the Whammy pedal to be placed AFTER the DM2000 in the signal chain – a very unlikely scenario. Anyways, I’m not trying to be an ass or anything; just thought I’d point that out. Thanks again!!
Ryan
Hey Ryan, it’s more that the physical space and arrangement between the Boomerang and Whammy pedals makes it a lot harder to perform the SOTG/Farmhouse-era delay loops, as they require using both feet at once. Yes, there have been post-reunion delay loops, but not nearly as commonly as pre-hiatus. Trey seems much more in to the whale call these days, although the newest Languedoc seems to have reduced that inclination as well. -Wayan
Ryan, you’re absolutely right, but FWIW Trey’s setup is different now, and I think it was changing even within the early 2010 summer tour. It was definitely different by Broomfield in the fall.
I’m not sure if the physical pedal arrangements have changed, but the rack is expanded and the Deluxe Reverb (maybe two?) are back, behind the cabinets. Also, he’s running two Languedoc cabs again, which is fantastic. I love the way they look.
Either way, we’re getting more delay loops again, which is awesome!
One other point: shouldn’t leave out Mike’s boxing bell!
@Brewster Apollo re page’s amps. As far as the new Wurlitzer I’m not sure what he’s got that going in to. But it does say and show in pictures that his D6 goes into a Black Face Deluxe Reverb with several different effects. The Rhodes is a suitcase model, which has its own preamp and the bottom part has 2 x 12 speakers hence the suitcase name. This is just mic’d up.
are there any close up images of the TS9s? I can make out the settings on the Ross but, the dials on his green boxes are hard to make out.
or can anyone provide the drive, tone and volume settings for each TS9?
I don’t have all the components of Trey’s pedal setup. actually, I don’t have ANY of them, at least not single pedals. I’m working with a Digitech RP355, Boss RC-20 and two Vox DA10 amps, directly into my PA head. so far, I’ve got some really sweet tones that a very reminiscent of Trey but, I’m still lacking the sustain. I’m very cautious to use compression b/c i don’t really like what it does to my tone/feel… but if i can find a way to use it in the same capacity Trey does, we’ll see….
I’m going to use one of my Vox DA10 amps for it’s compression patch. I’m not sure if the edits are the same parameters as on a ROSS but, i’ll make do.
any input from ANYBODY would be welcomed!
ok, so far i’m understanding the signal path like this….
TS9(hot)—>TS9(clean+always on)—>Ross(sustain@7:30+level@12:10)
at least, that’s what i’m gathering from the pics and posts
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Does anyone know what that mat is that Mike stands on? It looks like one of the wires is going into it – perhaps a power supply or a ground?
JC, that mat that Mike has there is called a “ducker” . It is simply a pressure mat, similar to what you step on to enter a supermarket. It is so when he steps away from the microphon it is automatically muted. When He steps on the mat to sing, the mic will turn back on. This way there is no instrument bleed through the vocal mics during jams. its a simple, ingenious idea first invented by the Grateful Dead in the late 70’s early 80’s.
JC: regarding Mike’s “mat”. I have seen some designs on DIY websites for a microphone mute. Essentially, if he’s not on the mat, the vocal mic is off, which cleans up the Front of House sound mix immensely. I wonder if Trey has one, under his octagon rug. I’ve always wanted to do that. Vocal mics inherently have the gain turned way up and thus grab a TON of onstage sound. Mike’s huge bass rig, added into his vocal mic would create a huge amount of excess mud. When he’s singing, he’s basically blocking the mic from picking up a lot of onstage sounds, so it’s cool that it’s unmuted… and I imagine there is a noise gate on all their vocals to a degree to help with this.