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Came across the following quote from Trey on his Ibanez DM2000:
"I also have an Ibanez DM-2000, one of the first digital delays they ever made. It's got this bug in it. If you have the flange going and you hit the infinite hold button, it totally freaks out. It makes all these awful sounds. That's all I use it for."
Does anyone know of an example of this? I'm a wannabe gear-junkie and love to know examples of Trey using specific effects. Thanks!
"I also have an Ibanez DM-2000, one of the first digital delays they ever made. It's got this bug in it. If you have the flange going and you hit the infinite hold button, it totally freaks out. It makes all these awful sounds. That's all I use it for."
Does anyone know of an example of this? I'm a wannabe gear-junkie and love to know examples of Trey using specific effects. Thanks!
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Not sure about that specific sound but all of the Digital Delay Loop Jams are made using the DM2000
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pretty sure those sounds are the weird swooping/bleeping/blooping sounds he first used for the Talking Heads set on 10/31/96, and then leaned on pretty heavily all through Fall '96. see the 11/2/96 Crosseyed for a huge array of them, all layered together.
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start with some deep type-II fall 94 jams. like a crazy bowie or tweezer. you'll hear it. go from there. summer 95 would be the next logical movedon't confuse this one with the boomerang which actuates the siren loops
there's also the megaphone which produces some feedback if it's moved in front of the mic. kind of a doppler effect. it also has a klaxon/air horn
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Don't forget about the Alesis Microverb that is also in his rack.
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@ledzepmaster said:
Don't forget about the Alesis Microverb that is also in his rack.ok cool...what kinds of sounds does that help him make?
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I believe Trey also used the DM-2000 for the epic delay looping at the start of the Providence Bowie.
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@RoverPhish said: @ledzepmaster said:Idk the Ernie A specifics.... but I googled the piece of gear and it said it can be used for delays as well.Don't forget about the Alesis Microverb that is also in his rack.ok cool...what kinds of sounds does that help him make?
So that shows us three different pieces of gear Trey can use for delay effects.
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pretty sure trey.com has a detailed overview of his rig. i know mike's site does for his gearsome of these effects weren't around until recently & others have been gone for some time. ross compressor. i know he also disabled his ability to sustain siren loops in 3.0
oh, there was also the percussion rack from fall 95 - spring 97 which had digi-drum pads that made synth effect noises
be sure to crank both tube screamers all the way up. have fun controlling the signal & not killing it with feedback while playing a semi-hollow body. that's how he gets the half-minute sustain on single notes
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Trey's site shows what it all is, but not specific about individual pieces and if any modifications. Only the TS9 are listed as modded and anyone can go buy those from buyanalogman.com
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@frantic0blivion said:
pretty sure trey.com has a detailed overview of his rig. i know mike's site does for his gear some of these effects weren't around until recently & others have been gone for some time. ross compressor. i know he also disabled his ability to sustain siren loops in 3.0 oh, there was also the percussion rack from fall 95 - spring 97 which had digi-drum pads that made synth effect noises be sure to crank both tube screamers all the way up. have fun controlling the signal & not killing it with feedback while playing a semi-hollow body. that's how he gets the half-minute sustain on single notesI hear ya...yeah, i'm pretty familiar with what he has in his rig from trey.com and strangedesign.org, i'm just curious of what effects Trey is using for certain sounds and examples. Thanks though!
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@frantic0blivion said:
i know he also disabled his ability to sustain siren loops in 3.0I question this. The siren is created by doing a pitch bend on the Whammy II and then looping it with either a Boomerang, a delay unit, or a combination of both. While Trey's current pedal layout may not be optimized to do this (ie, the pertinent pedals might not be right next to one another as they probably were 97-00), he still does the siren effect right before the Jibboo solo. Personally, I'd love to see the funk siren come back in a big way ~ I think it gave the band a really rich, textured sound, and it also seemed to slow Trey down to the point where he could listen to the others ~ but I doubt it'll ever happen. Never say never, though.
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Oh, and fwiw, Trey never plays a semi-hollow. Fully hollow all the way. And the Ross has been back since 2009.
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i said ability to sustain. sure he can still make the loops but they decay quickly & don't just go on & on for minutesyeah, i was using the ross as an example of rotating stuff in & out of the rig
oh yeah. for some reason i thought languedocs were semi-hollow. oh, i was thinking of the starcaster which it's based on
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@frantic0blivion said: pretty sure trey.com has a detailed overview of his rig. i know mike's site does for his gearThe Docs are full hollow bodies, and he could get that amount of sustain with a single ts-9. I'm also pretty sure that the Ross is back.
some of these effects weren't around until recently & others have been gone for some time. ross compressor. i know he also disabled his ability to sustain siren loops in 3.0
oh, there was also the percussion rack from fall 95 - spring 97 which had digi-drum pads that made synth effect noises
be sure to crank both tube screamers all the way up. have fun controlling the signal & not killing it with feedback while playing a semi-hollow body. that's how he gets the half-minute sustain on single notes
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yeah i know it's back. we (phans collectively) got a new one for him
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What about the siren loop Trey uses in First Tube? It seems to last for a while.
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@frantic0blivion said:
Thread hijacked??
start with some deep type-II fall 94 jams. like a crazy bowie or tweezer. you'll hear it. go from there. summer 95 would be the next logical move don't confuse this one with the boomerang which actuates the siren loops there's also the megaphone which produces some feedback if it's moved in front of the mic. kind of a doppler effect. it also has a klaxon/air hornThanks, i'm going to go from here.
Thread hijacked??
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Yeah, I'm not sure what Frantic means when he says that trey has "disabled" that feature. As long as the boomerang is on stage, which I'm pretty sure it still is, then he still has that ability. I think it's more a matter that Trey has scaled back on using long sustained loops, which i'm thankful for.
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@frantic0blivion said: yeah i know it's back. we (phans collectively) got a new one for himDid he use it later in 2.0 or earlier in 3.0?
http://www.fretbase.com/wp-content/uploads/2009/01/ross_compressor.jpg
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found thisi really don't know what the deal is with the current state of siren loops. i'm just passing on what i've heard/read
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OK. Here's the deal. To make a funk siren, you first play a note and bend it with the whammy on octave (or second octave) down. Trey additionally uses the volume pot on his doc to 'swell' that note. The pitch-bent note goes into one of his delay units where it repeats until it reaches a nice state of decay. At that point it can be left on 'hold' or shifted into the Boomerang. I've managed to do it that way, and I suspect that Trey does something similar. When he does Jibboo these days, the only difference is that he doesn't hit the 'hold' function on the delay, or loop it on the Boomerang; he just lets it decay and disappear. I think that's a matter of taste on his part (ie, he doesn't "do" funk sirens anymore, because he's moved on musically), not because his rig cannot do them.
Jeez, I wish they'd announce dates already. I am posting way, way too much...
Jeez, I wish they'd announce dates already. I am posting way, way too much...
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i guess the more semantically correct way of saying it is that he has it set up on the rug in such a way that he can't engage infinte loops as easily or is discouraged from doing so by the way things are arranged. of course all the gear is still present so the ability remains. i know i'm not making this up, i did read something about this somewhere (might have been an interview). but yeah, it's more of a stylistic choice to not let them go on repeatingalso keep in mind that stuff gets modded & in some cases put into a shell from another piece
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Trey and his 5 delays... lol
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sorry if that was a hijack but at least we stayed semi-on topiccheck out late 99 for more effects craziness (he had the keyboard by then too so there are some effects from it that were used regularly)
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"It makes all these awful sounds. That's all I use it for." That made me laugh REALLY hard. I can just see him saying it in that Trey way (like the Cool Hand Luke smile) and it makes me burst into laughter.
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@frantic0blivion said: yeah i know it's back. we (phans collectively) got a new one for him
http://www.fretbase.com/wp-content/uploads/2009/01/ross_compressor.jpg
an essential when your running 2 ibanez tube screamers
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I found an example of Trey using the hold function. 6-15-2000 during the Encore Jibboo at 6:26 of the spreadsheet recording. Its crazy feedback but you can tell its a hold because hes playing over it
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@MomaDan said:
I found an example of Trey using the hold function. 6-15-2000 during the Encore Jibboo at 6:26 of the spreadsheet recording. Its crazy feedback but you can tell its a hold because hes playing over itthanks...this is exactly what i was looking for
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@beanholestatus said: @frantic0blivion said:Except when you run it after them it doesn't really fit in with what logic says...Agreed, but that doesn't necessarily make sense when you run it after the ts9s.yeah i know it's back. we (phans collectively) got a new one for him
http://www.fretbase.com/wp-content/uploads/2009/01/ross_compressor.jpg
an essential when your running 2 ibanez tube screamers
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that's one of the unique things about trey's setup is that he puts it at the end of the chain rather than earlier onas long as we're in japan, check out the simple from the fuji festival 99. lots of effects in that one
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@ProfessorDude said: OK. Here's the deal. To make a funk siren, you first play a note and bend it with the whammy on octave (or second octave) down. Trey additionally uses the volume pot on his doc to 'swell' that note. The pitch-bent note goes into one of his delay units where it repeats until it reaches a nice state of decay. At that point it can be left on 'hold' or shifted into the Boomerang. [] When he does Jibboo these days, the only difference is that he doesn't hit the 'hold' function on the delay, or loop it on the Boomerang; he just lets it decay and disappear. I think that's a matter of taste on his part (ie, he doesn't "do" funk sirens anymore, because he's moved on musically), not because his rig cannot do them.^^^ the technical parts of this post are 100% correct. pitch bend -> delay -> at the proper point of decay hit "hold" -> siren established, jam on
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@RoverPhish Just dled that concert (6/15/00) last night, cause the night before is AMAZING!! Ghost is tasty, as is DWD. I think i found my new favorite Jibboo also.Anyone used the Whammy 4? I've heard bad things about the buffer but they can be found for under $100. Also doesnt he slide down the neck when doing the siren? Thats at least how I replicate it without having a whammy.
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best use of any 3.0 delay is the pinnacle of the berkeley simple jam...
the song used for the super ball promo video
the song used for the super ball promo video
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Ok so I have a question..I have a digi whammy with a visual sound delay (analog) that has three nobs (speed, repeat, and level). These along with the rest of my rig run into my boomerag phrase plus. Im not sure Im not understanding how he gets the loop in the 97-98 era to stray right off hte bat. From what Im understanding is the loop is being repeated by Trey's delay and than he grabs it and loops it with the boomerang? Please helpppppp
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A guy on the strangedesign forums made this video to show the funk siren. You have the right idea, the delay needs to have a long enough time to allow you to set up the boomerang. I could get a funk siren going with a wah instead of whammy but now there are too many pedals between my wah and boomerang now to do this, unless im doing the splits. A delay is crucial to get accurate sirens, which I dont have.
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Can't get too much closer than that.Not sure what the delay time is but I use it around the 1000 millisecond for a nice long siren. I'll have to make a vid of my own when I get my rang back from my guitar instructor.
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yea this video is pretty spot on. As soon as I get home from work im tryin it. So the toe is down on the whammy and as you back off the whammy your swelling with volume, correct?
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@cactusfootbell said: So the toe is down on the whammy and as you back off the whammy your swelling with volume, correct?No, volume stays the same. You can set the whammy for how high you want the octave note to go (1 octave or 2 octaves) and the pitch will sweep down back to your original note as you bring the expression pedal back to your heel.
I usually use just 1 octave up because at high volumes the 2nd octave up can be ear splitting.
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One example of what Trey is talking about is the freak out loops from POrtsmouth and Pittsburgh when he hits the delay pedal and it sends like 10 high pitched loops at once, but only for a few seconds. It's like he never knows what he is gonna get when he hits it....
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@TimberCarini said: One example of what Trey is talking about is the freak out loops from POrtsmouth and Pittsburgh when he hits the delay pedal and it sends like 10 high pitched loops at once, but only for a few seconds. It's like he never knows what he is gonna get when he hits it....Can you post an example video? I dont really feel like searching through whole shows.
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I know its been said and this is an old post but i wanted to give an example of the dm 2000 for the crazy sounds. Listen to the beginning of the Bowie on Livephish 13. you'll notice at around 50 seconds, that weird ascending sound that you might recognize from countless other 93, 94, or 95 jams. thats created by doing what trey said in the quote. using the modulation function and the hold function together. Also, with respect to the siren loops, Trey definitely didn't use the boomerang for those, that would be over complicated. He just uses the hold function on the Dm 2000. Its pretty simple, he just presses it and it goes on forever. the boomerang is mostly used like it is in the new trey's rig video (the greatest video ever). It can also do a really cool reverse playing function that lets you play live reversed leads on the fly.he uses that in the second half of the livephish 6 Weekapaug and other jams like that.
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Also, i know this has nothing to do with either of the pedals being talked about but i was just watching the Phish bluegrass video, you know the one from 94 with rev. Jeff Mosier. Anyway, there was a great close up of trey's effects and it was way different back then. For starters, there was a DOD 680 analogue delay. I think he used this for the wild oscillating sounds that you can hear, for example, in the livephish 13 antelope at around 2:30. just interesting to see how much his rig has evolved.
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Found another awesome example of Trey using this quirky feature the DM2000...check out the Weekapaug from the 12/1/95 LP release. 0:39 seconds in. the guitar solo that follows it is one of my favorite Trey solos of all time.
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Just noticed this thread. I started a similar one yesterday but I didn't know until LedZepmaster pointed it out that it was the DM2000 I was asking about.My example was the Fire from Portsmouth '12 night 1. Seek to 3 min.
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Also, I believe the DM2000 "hold effect" is often used during Free...seek to 4:20.... he combines it with the Whammy, and also adds a trem on the way back down.
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