Ernest and the Whale
Hartford Whale Callers Logo (Jiggslot)
Without a doubt 2010 has been the defining year for Trey’s new guitar approach, appropriately dubbed “the whale call”. During the tour opener in Chicago, Trey brought his pitch-shifting device to the forefront in an effort to shape his notes through a slurred – highly digitial – caterwauling sound. Trey has been exploring the sound of the whale since Hampton, but in 2010 “the whale” came to define Trey’s playing, much as the black-cat vibe did in ’99 and ’00. It was just prior to the hiatus that Trey first discovered the whale; and so much of its development has taken place outside of Phish in the various incarnations of TAB.
Even in 2010, Trey has constantly changed his approach to the whale, indicating that he has yet to perfect its sound. I discussed Trey’s new-found affection for the whammy in an article earlier this year called “Trey’s New Favorite Toy“. However, at the time, not even I could have imagined the extent to which “the whale” would become a part of Phish’s sound in 2010. Today, we look back on the story of Ernest and the whale.
Digitech Whammy II
Many fans point to the “Chalkdust” from 7.10.99 [Live Phish 8] as the jam where the whale first emerged. I would agree, and considering Trey’s stated affection for that jam, it would be reasonable to assume that this was the point that sent him searching for the sound he had attained in those moments of pure musical satori.
“Chalkdust Torture” (7.10.99)
But oddly enough, the whale was absent during the rest of ’99, and did not resurface until a year later in Darien Lake during a soaring rendition of “Reba” [Live Phish 3]. It is precisely this “soaring” quality that first seemed to attract Trey to the sound. What I find interesting is that Trey does not use the wham like any other guitarist known for using the pedal (Tom Morello, Kevin Sheilds etc.) Instead, using the “Down 2nd” mode on the Digitech Whammy II, he essentially can drop his notes 2 full steps and then bend them back to their original position, hence the whale sound. When Trey first used the pedal in the pre-hiatus jams, he was using it to create a single, siren-like effect that added a psychedelic tinge to the music. It has also served various other purposes over the years such as harmonizing, octave drops and other effects.
“Reba“(9.14.00)
6.24.10 (Glowstickwars.com)
It was following the release of Bar 17 in 2006 that the early stages of the whale in its present form were heard. Bar 17 is different from Trey’s other solo projects due to the fact that most of the songs are written by Trey, without the help of Tom (only “Let Me Lie” and “Cincinnati” have the Anastasio, Marshall credit). The music itself was written immediately following Phish’s breakup, but was put on hold while Trey worked on other projects. Unlike Shine and Trey’s self titled album, Bar 17 bodes a much darker sound that speaks to the time during which it was written. On the heels of Bar 17′s release, Trey took to the road clearly attempting to define a new sound that suited the dark, personal nature of the songs. Listen below to this version of “A Case of Ice and Snow” from 10.18.06 at the Vic Theatre in Chicago, and hear Trey struggling with the early stages of the “whale call”.
“A Case of Ice and Snow” (10.18.06)
6.13.10 (Glowstickwars.com)
When Phish returned in 2009 Trey brought the whale with him. While only using it sparingly, he began to hone his new sound adding it to the new songs as well as the old. With the addition of his compressor – which acts as a limiter on the peaks and valleys of his notes – he creates a unique, overdriven sound. But in the early stages Trey was still struggling with the whale, often throwing off his bandmates rather than feeding the jams. As the year progressed we saw Trey step on and then off the wham for periods of time. For example, after the Exile set at Festival 8 it seemed as though Trey had left the whale behind for his old machine gun shredding ways. However, after a brief period in hibernation the whale returned stronger than ever. This “Ocelot” from the Gorge ’09 shows the whale still in its inception.
“Ocelot” (8.7.09)
On the first leg of summer tour 2010, the whale was prominent in nearly every jam. In the past, Trey has referred to his pedals as “safety mechanisms”. And so, as Phish began their summer tour it seemed as though Trey was clinging to his “safety mechanisms” more than ever. While developing a new sound, he also sacrificed a great deal of the instrument’s versatility by using the whammy so frequently. Here’s the “Stash” from Blossom where Trey appears have become more adept using the whale to create tension and release.
“Stash” (6.12.10)
By leg two, Trey once again began stepping away from the whale. When he did choose to use it, it was tasteful, and added a rare energy to the jams. I can think of several examples where the whale brought a jam to a level that would not have been reached otherwise. Some love it, some hate it. But there is no doubt that Big Red has once again crafted a new approach to his guitar playing while simultaneously recreating the sound of Phish.
“Light” (8.18.10)
[To order Hartford Whale Callers T-shirts click here for the link to Jiggs Lot!]
Great read…thanks for featuring the shirt.
The hate for the new development in the sound should also warrant a mention. Specifically the guy that held up the “No more whammy!” sign on leg 2. While getting involved with the band is a good thing. I feel like this kind of sign, makes it a little more personal. I prefer that the band finds the path on their own rather than being filtered by over-rabid fans.
Thanks again for the piece.
August 23, 2010 at 8:33 am
Audience involvement has always been a cornerstone of the band’s fabric. In the last year it has grown increasingly negative though. While I’d like to think that particular sign was created in jest, more than in an actual request, the booing for TTE last week was unacceptable.
I don’t like Divided Sky, but I’m not trying to get them to not play it or letting them know I don;t like it. A few bad apples have become increasingly vocal. The internet isn’t helping the wisdom of the crowd either.
Great retrospective on the history of the whammyfication of Trey’s sound.
August 23, 2010 at 10:51 am
I love the fans that listen intently to both the tone and pitch of Trey and Phish. Phish has been fearlessly “perfect” for so long they have created their own reputation for being “almost too perfect.”
Certainly a challenge to any band that there are fans who are hyper-critical to listening for any musical mistakes, but overjoyed when everything is “pitch” perfect.
Trey’s accuracy in pitch has never ceased to amaze me. Almost jaw dropping at moments. Eg. “The note” in YEM, a highly bent moment of YEMish ecstasy that fans have been “clocking” whether he got it right nor not. Trey’s ability to bend strings above the 12th fret 2 to 2 1/2 steps caused many to raise their hands in joy, and nail the feedback as he kept it perfectly toned.
As we all know, Reba’s “soaring” often is the function of the hoards of notes, bent to 2 to 2 1/2 steps up also towards the end of the song.
There are obviously tons of solos that Trey bends his way to abandon. Bathtub Gin, Possum, etc.
I realize as I’ve gotten older, that bending those tight strings is tougher and tougher. Whether it is my own oncoming mild arthritis, age, stiffer joints, etc I’ve always wondered how Trey could keep playing the same amazing songs if he experiences what most of us experience at 40+.
I think the “groans” about the Whammy pedal for some fans is that it is very pitchy. Trey’s accuracy dropped considerably. As he steps on a pedal to search around for the right pitch bend it sounds like something that Randy Jackson would sneer at.
It’s more than “a new sound” as it is that it takes the accuracy out of the solos and replaces it with ‘searching’ for the note. Some fans don’t hear it. Some do.
It hit me during the Bathtub Gin at Alpine in ’09 that the Whammy almost had an effect of sounding like someone trying to wring a towel out of notes. I yearned for older Gins with more groove, less pitchyness.
I truly believe the new guitar is easier for Trey to bend the strings on. This is why MOST of The Greek didn’t contain copious use of the Whammy. I for one like it that way, get back to grooving or funk if you don’t want to wank. But keep it pitch perfect if possible.
Still wouldn’t make a sign about it though.
August 23, 2010 at 10:59 am
great read & a thoughtful analysis… interesting to see/hear the progression and history.
place me in the camp of “some love it”- of course when the entire band is working together with Trey and it is not stopping jams but enhancing them.
August 23, 2010 at 11:14 am
some call it ‘the whale’
i prefer ‘yawning drone’
all i know is it sounds bad ass on the ‘delics.
lovin it!
August 23, 2010 at 11:14 am
I disagree that 99 was the first of Whammy. Listen to Ghost in Prague 98. Right off the bat, Trey samples his “whale call.” The whole sampling aesthetic on his Boomerang, especially with the Whammy, should be noted. Also, the octave shift isn’t the only function he uses on the Digitech Whammy. He also uses the de-tuning functions quite a lot. I know he used it a couple times through this more recent Jones Beach run.
I saw this a-hole with anti-whammy sign at the Greek. What a douche. That’s incredibly disrespectful to the band. That’s condemning their own art. It really bummed me out when I saw it, because Trey reacted when he came out at set 1 night 2 of the Greek. He awkwardly chuckled and mouthed “You don’t like the Whammy?” he then went to the whammy and did some notes on it BUT the pedal was on the de-tune setting. Listen for it.
I’m personally a fan. It’s original, and I think it lays down an awersome sonic soundscape when he samples it.
August 23, 2010 at 1:25 pm
Love the insight Joe. Can you point to some timestamped examples of the differences between the effects?
August 23, 2010 at 2:38 pm
I’ll have to get back to you on a time stamp. However, you can clearly hear the detune effect right here, as I mentioned at the Greek when Trey read some douche’s anti-whammy sign:
August 23, 2010 at 3:41 pm
centrum 98 “Weekapaug” jam is all whammy based too. Listen to the “R2-D2 star wars” effects. 100% whammy. It’s been a tool in his arsenal for many years now. He is using it in new and unique ways than in the past. I like what he is accomplishing – getting outside of his normal box and comfort zone.
August 23, 2010 at 4:12 pm
“The Whale” as I see it, is just another addition to Trey’s arsenal. The droned out sound really can add depth to many songs (O9 Camden Sand) and also lead to the vibe of a song (pretty much any Summer 2010 Ocelot).
As a fan who listens, and listens, and listens to a lot of Phish, I can understand an individuals right to prefer a certain sound. However, like a few of you have mentioned, blatantly discouraging an artist’s attempt to develop his craft is just wrong.
Push on til the day bitches. See you on Phall Tour.
August 23, 2010 at 9:03 pm
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you can see trey experimenting with the whammy quite a lot in 98 here at around 4:50
September 2, 2010 at 12:26 pm
Jon,
Trey has been using the whammy pedal for many years (see the Born Under Punches solo from Halloween ’96). But the whale call, as far as I’m concerned, did not appear until ’99. The examples presented above have either confused the whammy for the wah, or have used the wham for other purposes.
Thanks for the comment.
September 2, 2010 at 12:31 pm
This is an insightful analysis, thank you, and I wish I’d have been able to read it sooner. Fwiw the whammy definitely was used prior to Summer 1999 but I am not sure whether he used the digitech whammy II pedal back then in particular.
While I greatly appreciate that Trey uses this whammy pedal now and then, and has used it in the past, because Trey is a brilliant guitarist whom I have respected and admired since first hearing him in 1988, what became disturbing to me last year (and I think to some other fans) is that he seemed to start *relying* on the damn thing, almost like a crutch. And you can’t deny that an expert guitarist can use a whammy as a crutch when insecure about being precise. (At the same time, expertly using a whammy can be pretty damn cool, too!)
Also, frankly, a lot of folks don’t like the whammy in general because, if one is very pitch-sensitive, a whammy’s use can be — not always, but can be — supremely annoying. Even GOD-AWFUL. I am not simply talking about the clever, occasional use of the detuning feature or sliding up or down an octave here and there during a jam, or grooving in a repetitive, funky way with it. I’m talking about using the thing throughout a solo that’s typically melodic so much so that one is left wondering whether the guitarist in question can still play with a good sense of melody — or even recalls how to play the darn melody line precisely at all.
Trey obviously can play with a fantastic melodic sense, of course, but that’s in part why his apparent reliance now and then on the whammy can be aggravating. I’ll take ANY version of Harry Hood from the 1990s, for example, over any of the versions from last year that “featured” heavy whammy usage. It was wonderful to see him back off from its use in August, in my opinion, and hear some strong Hoods and Slaves in particular again.
Don’t get me wrong. The asshat at the Greek with the sign was way out of line. That’s extremely inconsiderate of Trey, who has been astoundingly generous to his fans over the years, and also to his art, of course.
I’m nevertheless among those who are encouraged by the modest use of the whammy by Trey, as he used to do. Trey used it sparingly in August and if that’s the trend, great. I’d prefer it rarely ever dominate a solo, but admittedly, I have confidence in Trey, and he’s going to do what he’s going to do when he’s going to do it, and I’m going to listen to it and probably continue to love it most of the time!
two cents
September 12, 2010 at 8:04 pm
I really enjoyed this post as well as the thoughtful responses. Trey has always been interesting to me and not being a musician myself, I am happy to learn the differences in his sounds and what makes them. Good stuff!! See ya in Oct. Trey!
September 15, 2010 at 7:39 am
The point that after the chalkdust in 99, the whale disappears is inaccurate. Listen to Tweezer from 7-24-99. Pretty cool use of it too!
December 23, 2010 at 11:36 am