@LightsWentOut said:

The re-amping concept is a little confusing to me. I understand how this works in the studio context, but I am unsure how that works live. Is it that his effects rig is getting its signal from the physical loudspeaker output of the dry tone cabinet (dry loudspeaker > mic > effects pre-amp in)? If that is right, I guess I understand that concept, but I am not sure how that translates to what he is listening to on stage. Is it a mix of the dry cabinet and the wet one? Does he use his cabinets as a monitoring source very much or does he rely mainly on his monitor mix (my guess is that he uses them all in different contexts)? When they reconfigured their stage set-up, I thought that was, in part, an effort to reduce their stage volume some and hear each other better. Is that concept drifting away as a priority? I would love to know exactly how many DB's those cabs are pushing on their own. My guess is that because is guitars are so sensitive to feedback, he may not actually be that loud on stage. That being said, guitarists are rarely quiet.

I also wonder about the challenges a re-amped set up like this presents a FOH and/or monitor mixer. When he is using his effects cab alongside his dry cab, the levels for both will need to be attenuated really quickly. That means that you'd have to really keep your eyes and ears open for what Trey is doing with his pedals to know when he's moving from one cabinet to the other. I guess you can kind of cover for some of that with compression at the board, but that would bother the f*** out of me considering how much time Trey is spending on the details of his tone. I would be reluctant to compress his signal much.

Questions, questions

Hold on. I was wrong about how that "re-amping" situation works. It seems like the one cab actually has four different loudspeakers handling two different inputs, so it's one sound source rather than two cabinets. That also explains why there are two mics in different positions on the cab. One is for the dry output and the other is for the wet. Interesting configuration. Still, wonder how he handles the jump in level between dry and wet signals.