Chords for Trey Anastasio's Phish Guitar Rig - Part 1
Tempo:
109.25 bpm
Chords used:
G
E
D
B
Bb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Am]
[G] Here's the simplest way to explain my rig.
It all starts with a Languedoc guitar, of which I think this is the,
I want to say the fourth model.
The first one was made in the 80s when we were still playing at Nectar's.
And the main things are, it's a long scale length,
which is the length from the nut to the bridge is the same as a strat.
A lot of hollow body guitars have a short scale length, and so they sound soft.
And I wanted it to have the bite of a strat, and then the kind of meat of a hollow body.
And that was a combo.
So the body is completely hollow and braced like a violin.
A lot of electric guitar hollow bodies have a block of wood in the middle.
They're not actually hollow.
This one has bracing like a violin, so it's totally, completely hand-carved and hollow.
It's a beautiful hand-crafted instrument.
This piece of koa is really, really special.
And you can see, and he held on to it for years.
I don't know how many years, you'd have to ask him.
But he said it was in the corner of his shop.
His shop's in his garage.
You know, and it's just, it plays like a dream.
I love this guitar.
And he put a little ocelot on there after the song, I guess.
Look at that inlay.
He's got the sunset.
It's pretty magical.
First one had the puppy marmar on it.
Marley was a puppy, so it's the one on the cover of Lawn Boy.
I have that one in my house.
I play it all the time.
They all get used.
And then the maple one with the pig chasing the cat is on the bus, and I practice on that.
And then the koa one from the last couple tours is backstage, and I play with that.
And then this one I use on stage.
But I really like this one right now.
It's got a brilliance to it that's really something.
And the other really interesting thing probably is that it switches between single-coil pickups and humbuckers.
So humbuckers are a thick Les Paul, Jimmy Page sound, and single-coil is a Jimi Hendrix, Eric Clapton, Strat sound.
And I actually, these days, on the last two tours, have been playing with a single-coil a lot, which I never have really over the years.
But I switch back and forth a lot.
[D] That's a single-coil sound, and this [G] is a humbucker sound.
[D] It's fatter.
[E] So I might use that for chords.
[G] And then switch to like
That's a rim [Bm] sound.
From the guitar, it goes into the rig, and the rig is split into two streams.
The first stream is the clean sound, which I use most of the night.
So there's a button over here that says Dig Crap, and that's all my digital stuff.
When that button isn't pushed, all I do is I go through this little pedal board, which is two tube screamers and a compressor.
And the wah-wah is there, but it's off most of the time.
So this I've been doing since the early days.
I have one tube screamer on full scream.
So that's
[Dbm] like the [B] sustaining sound.
And then I have one tube screamer on light distortion.
So it's like
[G] [B]
Occasionally I'll put them both on, but they all get squashed down by this Ross compressor and then into the amp.
And I actually stole that from Mike.
[N] He had that in his high school blues band rig.
It's like a $40 compressor.
It actually went away for a while, and when Phish came back, some people online got together and purchased me a new one and sent it to me.
And this one is actually that one.
So it's extra special to me for that reason.
Anyway, it goes in here, and the amp, if you come over here
I got this amp in about 1985 or 86.
It's a Mesa Boogie Mark III, which today is sort of a much maligned amp.
This is exactly the same rig that I played through at Nectar's.
And I actually have a theory about that, if it's not too boring.
But I believe that being familiar with your gear is more important than having really good gear.
So this has sort of a unique sound, all this stuff.
Because it goes into this amp and then into this cabinet.
So this cabinet was built in my living room by myself and Paul, who was my roommate at the time.
It was me and Phish and Paul who lived together.
We assumed that a 12-inch speaker was 12 inches.
So we cut this big hole and then dropped the speakers in and it fell right through.
So we ended up putting another piece of plywood behind it.
And it's got this here.
I'll show you.
This is kind of interesting.
It's house insulation.
This cabinet went on the road with Phish all through the 80s and 90s.
When we used to travel in a car all around the country.
This one was created afterwards, but that's the main one.
So the sound that you're hearing through the sound system is mic'd on the original old cabinet, as you can see.
Well, there's actually two other streams.
So as the night's going on, sometimes I use the Leslie speaker, which is right here.
So I hit this button, the Leslie comes on.
And it's that spinning speaker over there.
The two speakers are spinning in different directions, the low and the high.
And I can speed up or slow down.
[Bb] So this would be fast.
You can see it speeds up.
[Cm] And that's how you get that watery, like, let it loose sound.
[F] [♪ music playing ♪
[Bb] [♪ music stops
[F] ♪
I [C] have
[G]
these two chains because [C] most of the time I want the guitar to be as close as possible to just a cable going into an amp.
[Db] So that's a clean, really nice sound.
I have two effects on that chain that I use.
One is this little microverb for an echoey sound that I've been using again since [E] Neckers.
And it's the same microverb.
It's that one.
It's like a backwards delay.
It's a delay, but it's flipped around backwards, so it comes towards you.
And I think it sounds like the leads are going, vrooom.
[Ebm] So it's like, you know.
[C] [E]
[Abm] [G] And then we have this, which is the Univibe.
And the Univibe is, of course, made famous by Jimi Hendrix.
[Bb] [G]
[Gm] [G] It's like a phase shifty, but it's a little bit different.
And, you know, I got it specifically because I spent 8 million hours listening to Band of Gypsies when I was growing up.
[E] [Em]
[E] [Em]
[G] [B] [D]
[G] Here's the simplest way to explain my rig.
It all starts with a Languedoc guitar, of which I think this is the,
I want to say the fourth model.
The first one was made in the 80s when we were still playing at Nectar's.
And the main things are, it's a long scale length,
which is the length from the nut to the bridge is the same as a strat.
A lot of hollow body guitars have a short scale length, and so they sound soft.
And I wanted it to have the bite of a strat, and then the kind of meat of a hollow body.
And that was a combo.
So the body is completely hollow and braced like a violin.
A lot of electric guitar hollow bodies have a block of wood in the middle.
They're not actually hollow.
This one has bracing like a violin, so it's totally, completely hand-carved and hollow.
It's a beautiful hand-crafted instrument.
This piece of koa is really, really special.
And you can see, and he held on to it for years.
I don't know how many years, you'd have to ask him.
But he said it was in the corner of his shop.
His shop's in his garage.
You know, and it's just, it plays like a dream.
I love this guitar.
And he put a little ocelot on there after the song, I guess.
Look at that inlay.
He's got the sunset.
It's pretty magical.
First one had the puppy marmar on it.
Marley was a puppy, so it's the one on the cover of Lawn Boy.
I have that one in my house.
I play it all the time.
They all get used.
And then the maple one with the pig chasing the cat is on the bus, and I practice on that.
And then the koa one from the last couple tours is backstage, and I play with that.
And then this one I use on stage.
But I really like this one right now.
It's got a brilliance to it that's really something.
And the other really interesting thing probably is that it switches between single-coil pickups and humbuckers.
So humbuckers are a thick Les Paul, Jimmy Page sound, and single-coil is a Jimi Hendrix, Eric Clapton, Strat sound.
And I actually, these days, on the last two tours, have been playing with a single-coil a lot, which I never have really over the years.
But I switch back and forth a lot.
[D] That's a single-coil sound, and this [G] is a humbucker sound.
[D] It's fatter.
[E] So I might use that for chords.
[G] And then switch to like
That's a rim [Bm] sound.
From the guitar, it goes into the rig, and the rig is split into two streams.
The first stream is the clean sound, which I use most of the night.
So there's a button over here that says Dig Crap, and that's all my digital stuff.
When that button isn't pushed, all I do is I go through this little pedal board, which is two tube screamers and a compressor.
And the wah-wah is there, but it's off most of the time.
So this I've been doing since the early days.
I have one tube screamer on full scream.
So that's
[Dbm] like the [B] sustaining sound.
And then I have one tube screamer on light distortion.
So it's like
[G] [B]
Occasionally I'll put them both on, but they all get squashed down by this Ross compressor and then into the amp.
And I actually stole that from Mike.
[N] He had that in his high school blues band rig.
It's like a $40 compressor.
It actually went away for a while, and when Phish came back, some people online got together and purchased me a new one and sent it to me.
And this one is actually that one.
So it's extra special to me for that reason.
Anyway, it goes in here, and the amp, if you come over here
I got this amp in about 1985 or 86.
It's a Mesa Boogie Mark III, which today is sort of a much maligned amp.
This is exactly the same rig that I played through at Nectar's.
And I actually have a theory about that, if it's not too boring.
But I believe that being familiar with your gear is more important than having really good gear.
So this has sort of a unique sound, all this stuff.
Because it goes into this amp and then into this cabinet.
So this cabinet was built in my living room by myself and Paul, who was my roommate at the time.
It was me and Phish and Paul who lived together.
We assumed that a 12-inch speaker was 12 inches.
So we cut this big hole and then dropped the speakers in and it fell right through.
So we ended up putting another piece of plywood behind it.
And it's got this here.
I'll show you.
This is kind of interesting.
It's house insulation.
This cabinet went on the road with Phish all through the 80s and 90s.
When we used to travel in a car all around the country.
This one was created afterwards, but that's the main one.
So the sound that you're hearing through the sound system is mic'd on the original old cabinet, as you can see.
Well, there's actually two other streams.
So as the night's going on, sometimes I use the Leslie speaker, which is right here.
So I hit this button, the Leslie comes on.
And it's that spinning speaker over there.
The two speakers are spinning in different directions, the low and the high.
And I can speed up or slow down.
[Bb] So this would be fast.
You can see it speeds up.
[Cm] And that's how you get that watery, like, let it loose sound.
[F] [♪ music playing ♪
[Bb] [♪ music stops
[F] ♪
I [C] have
[G]
these two chains because [C] most of the time I want the guitar to be as close as possible to just a cable going into an amp.
[Db] So that's a clean, really nice sound.
I have two effects on that chain that I use.
One is this little microverb for an echoey sound that I've been using again since [E] Neckers.
And it's the same microverb.
It's that one.
It's like a backwards delay.
It's a delay, but it's flipped around backwards, so it comes towards you.
And I think it sounds like the leads are going, vrooom.
[Ebm] So it's like, you know.
[C] [E]
[Abm] [G] And then we have this, which is the Univibe.
And the Univibe is, of course, made famous by Jimi Hendrix.
[Bb] [G]
[Gm] [G] It's like a phase shifty, but it's a little bit different.
And, you know, I got it specifically because I spent 8 million hours listening to Band of Gypsies when I was growing up.
[E] [Em]
[E] [Em]
[G] [B] [D]
Key:
G
E
D
B
Bb
G
E
D
_ _ _ _ [Am] _ _ _ _
[G] _ _ _ _ _ Here's the simplest way to explain my rig.
It all starts with a Languedoc guitar, of which I think this is the,
_ I want to say the fourth model.
The first one was made in the 80s when we were still playing at Nectar's.
And the main things are, it's a long scale length,
which is the length from the nut to the bridge is the same as a strat.
A lot of hollow body guitars have a short scale length, and so they sound soft.
And I wanted it to have the bite of a strat, and then the kind of meat of a hollow body.
And that was a combo.
So the body is completely hollow and braced like a violin.
A lot of electric guitar hollow bodies have a block of wood in the middle.
They're not actually hollow.
This one has bracing like a violin, so it's totally, completely hand-carved and hollow.
It's a beautiful hand-crafted instrument.
This piece of koa is really, really special.
And you can see, and he held on to it for years.
I don't know how many years, you'd have to ask him.
But he said it was in the corner of his shop.
His shop's in his garage.
You know, and it's just, it plays like a dream.
I love this guitar.
And he put a little ocelot on there after the song, I guess.
_ Look at that inlay.
He's got the sunset.
_ _ _ It's pretty magical.
First one had the puppy marmar on it.
Marley was a puppy, so it's the one on the cover of Lawn Boy.
I have that one in my house.
I play it all the time.
They all get used.
And then the maple one with the pig chasing the cat is on the bus, and I practice on that.
And then the koa one from the last couple tours is backstage, and I play with that.
And then this one I use on stage.
But I really like this one right now.
It's got a _ brilliance to it that's _ really something.
And the other really interesting thing probably is that it switches between single-coil pickups and humbuckers.
So humbuckers are a thick Les Paul, Jimmy Page sound, and single-coil is a Jimi Hendrix, Eric Clapton, Strat sound.
And I actually, these days, on the last two tours, have been playing with a single-coil a lot, which I never have really over the years.
But I switch back and forth a lot. _ _ _
_ _ _ _ [D] That's a single-coil sound, and this [G] is a humbucker sound.
_ _ [D] _ It's fatter. _ _
_ _ [E] So I might use that for chords. _ _ _
[G] _ _ _ _ And then switch to like_
_ _ That's a rim [Bm] sound.
From the guitar, it goes into the rig, and the rig is split into two streams.
The first stream is the clean sound, which I use most of the night.
So there's a button over here that says Dig Crap, and that's all my digital stuff.
When that button isn't pushed, all I do is I go through this little pedal board, which is two tube screamers and a compressor.
And the wah-wah is there, but it's off most of the time.
So this I've been doing since the early days.
I have one tube screamer on full scream.
So that's _ _ _ _ _ _ _
_ _ _ [Dbm] like the [B] sustaining sound.
And then I have one tube screamer on light distortion.
So it's like_ _
[G] _ _ _ _ _ [B] _ _ _
Occasionally I'll put them both on, but they all get squashed down by this Ross compressor and then into the amp.
And I actually stole that from Mike.
[N] He had that in his high school _ blues band rig.
It's like a $40 compressor.
It actually went away for a while, and when Phish came back, some people online got together and purchased me a new one and sent it to me.
And this one is actually that one.
So it's extra special to me for that reason.
Anyway, it goes in here, and the amp, if you come over here_
_ I got this amp in about 1985 or 86.
It's a Mesa Boogie Mark III, which today is sort of a much maligned amp.
This is exactly the same rig that I played through at Nectar's.
And I actually have a theory about that, if it's not too boring.
But I believe that being familiar with your gear is more important than having really good gear.
So this has sort of a unique sound, all this stuff.
Because it goes into this amp and then into this cabinet.
So this cabinet was built in my living room by myself and Paul, who was my roommate at the time.
It was me and Phish and Paul who lived together.
We assumed that a 12-inch speaker was 12 inches.
So we cut this big hole and then dropped the speakers in and it fell right through.
So we ended up putting another piece of plywood behind it.
And it's got this here.
I'll show you.
This is kind of interesting.
It's house insulation.
This cabinet went on the road with Phish all through the 80s and 90s.
When we used to travel in a car all around the country.
This one was created afterwards, but that's the main one.
So the sound that you're hearing through the sound system is mic'd on the original old cabinet, as you can see.
Well, there's actually two other streams.
So as the night's going on, sometimes I use the Leslie speaker, which is right here.
So I hit this button, the Leslie comes on.
And it's that spinning speaker over there.
The two speakers are spinning in different directions, the low and the high.
And I can speed up or slow down.
[Bb] So this would be fast.
You can see it speeds up.
[Cm] And that's how you get that watery, like, let it loose sound. _
[F] _ [♪ music playing ♪
[Bb] [♪ music stops _
[F] ♪
I _ [C] have _ _ _
_ _ _ _ [G] _ _ _ _
_ _ these two chains because [C] most of the time I want the guitar to be as close as possible to just a cable going into an amp.
[Db] So that's a clean, really nice sound.
I have two effects on that chain that I use.
One is this little microverb for an echoey sound that I've been using again since [E] Neckers.
And it's the same microverb.
It's that one.
It's like a backwards delay. _ _
It's a delay, but it's flipped around backwards, so it comes towards you.
And I think it sounds like the leads are going, vrooom. _ _
_ _ [Ebm] So it's like, you know.
[C] _ _ [E] _
_ _ _ _ _ _ _ _
_ _ [Abm] _ _ [G] And then we have this, which is the Univibe.
And the Univibe is, _ of course, made famous by Jimi Hendrix. _ _
_ [Bb] _ _ [G] _ _ _ _ _
[Gm] _ _ _ [G] It's like a phase shifty, but it's a little bit different.
And, you know, I got it specifically because _ I spent 8 million hours listening to Band of Gypsies when I was growing up.
_ [E] _ _ _ _ [Em] _ _ _
_ _ _ _ [E] _ _ _ [Em] _
_ [G] _ _ [B] _ _ [D] _ _ _
[G] _ _ _ _ _ Here's the simplest way to explain my rig.
It all starts with a Languedoc guitar, of which I think this is the,
_ I want to say the fourth model.
The first one was made in the 80s when we were still playing at Nectar's.
And the main things are, it's a long scale length,
which is the length from the nut to the bridge is the same as a strat.
A lot of hollow body guitars have a short scale length, and so they sound soft.
And I wanted it to have the bite of a strat, and then the kind of meat of a hollow body.
And that was a combo.
So the body is completely hollow and braced like a violin.
A lot of electric guitar hollow bodies have a block of wood in the middle.
They're not actually hollow.
This one has bracing like a violin, so it's totally, completely hand-carved and hollow.
It's a beautiful hand-crafted instrument.
This piece of koa is really, really special.
And you can see, and he held on to it for years.
I don't know how many years, you'd have to ask him.
But he said it was in the corner of his shop.
His shop's in his garage.
You know, and it's just, it plays like a dream.
I love this guitar.
And he put a little ocelot on there after the song, I guess.
_ Look at that inlay.
He's got the sunset.
_ _ _ It's pretty magical.
First one had the puppy marmar on it.
Marley was a puppy, so it's the one on the cover of Lawn Boy.
I have that one in my house.
I play it all the time.
They all get used.
And then the maple one with the pig chasing the cat is on the bus, and I practice on that.
And then the koa one from the last couple tours is backstage, and I play with that.
And then this one I use on stage.
But I really like this one right now.
It's got a _ brilliance to it that's _ really something.
And the other really interesting thing probably is that it switches between single-coil pickups and humbuckers.
So humbuckers are a thick Les Paul, Jimmy Page sound, and single-coil is a Jimi Hendrix, Eric Clapton, Strat sound.
And I actually, these days, on the last two tours, have been playing with a single-coil a lot, which I never have really over the years.
But I switch back and forth a lot. _ _ _
_ _ _ _ [D] That's a single-coil sound, and this [G] is a humbucker sound.
_ _ [D] _ It's fatter. _ _
_ _ [E] So I might use that for chords. _ _ _
[G] _ _ _ _ And then switch to like_
_ _ That's a rim [Bm] sound.
From the guitar, it goes into the rig, and the rig is split into two streams.
The first stream is the clean sound, which I use most of the night.
So there's a button over here that says Dig Crap, and that's all my digital stuff.
When that button isn't pushed, all I do is I go through this little pedal board, which is two tube screamers and a compressor.
And the wah-wah is there, but it's off most of the time.
So this I've been doing since the early days.
I have one tube screamer on full scream.
So that's _ _ _ _ _ _ _
_ _ _ [Dbm] like the [B] sustaining sound.
And then I have one tube screamer on light distortion.
So it's like_ _
[G] _ _ _ _ _ [B] _ _ _
Occasionally I'll put them both on, but they all get squashed down by this Ross compressor and then into the amp.
And I actually stole that from Mike.
[N] He had that in his high school _ blues band rig.
It's like a $40 compressor.
It actually went away for a while, and when Phish came back, some people online got together and purchased me a new one and sent it to me.
And this one is actually that one.
So it's extra special to me for that reason.
Anyway, it goes in here, and the amp, if you come over here_
_ I got this amp in about 1985 or 86.
It's a Mesa Boogie Mark III, which today is sort of a much maligned amp.
This is exactly the same rig that I played through at Nectar's.
And I actually have a theory about that, if it's not too boring.
But I believe that being familiar with your gear is more important than having really good gear.
So this has sort of a unique sound, all this stuff.
Because it goes into this amp and then into this cabinet.
So this cabinet was built in my living room by myself and Paul, who was my roommate at the time.
It was me and Phish and Paul who lived together.
We assumed that a 12-inch speaker was 12 inches.
So we cut this big hole and then dropped the speakers in and it fell right through.
So we ended up putting another piece of plywood behind it.
And it's got this here.
I'll show you.
This is kind of interesting.
It's house insulation.
This cabinet went on the road with Phish all through the 80s and 90s.
When we used to travel in a car all around the country.
This one was created afterwards, but that's the main one.
So the sound that you're hearing through the sound system is mic'd on the original old cabinet, as you can see.
Well, there's actually two other streams.
So as the night's going on, sometimes I use the Leslie speaker, which is right here.
So I hit this button, the Leslie comes on.
And it's that spinning speaker over there.
The two speakers are spinning in different directions, the low and the high.
And I can speed up or slow down.
[Bb] So this would be fast.
You can see it speeds up.
[Cm] And that's how you get that watery, like, let it loose sound. _
[F] _ [♪ music playing ♪
[Bb] [♪ music stops _
[F] ♪
I _ [C] have _ _ _
_ _ _ _ [G] _ _ _ _
_ _ these two chains because [C] most of the time I want the guitar to be as close as possible to just a cable going into an amp.
[Db] So that's a clean, really nice sound.
I have two effects on that chain that I use.
One is this little microverb for an echoey sound that I've been using again since [E] Neckers.
And it's the same microverb.
It's that one.
It's like a backwards delay. _ _
It's a delay, but it's flipped around backwards, so it comes towards you.
And I think it sounds like the leads are going, vrooom. _ _
_ _ [Ebm] So it's like, you know.
[C] _ _ [E] _
_ _ _ _ _ _ _ _
_ _ [Abm] _ _ [G] And then we have this, which is the Univibe.
And the Univibe is, _ of course, made famous by Jimi Hendrix. _ _
_ [Bb] _ _ [G] _ _ _ _ _
[Gm] _ _ _ [G] It's like a phase shifty, but it's a little bit different.
And, you know, I got it specifically because _ I spent 8 million hours listening to Band of Gypsies when I was growing up.
_ [E] _ _ _ _ [Em] _ _ _
_ _ _ _ [E] _ _ _ [Em] _
_ [G] _ _ [B] _ _ [D] _ _ _