Page gave a recorded "tutorial" about his gear that was broadcast as intermission of the webcast of hte 7/3/12 show. No links to the broadcast are known.
The FAQ is currently in the process of being updated in the new system. We apologize for any inconvenience, and will be updating this page as soon as possible.
The July 2007 Relix, accompanying a cover story about Page and based on an interview with him, provides this list of current Page equipment (p. 64):
NOTE: The following's a bit outdated, and needs to be cleaned up a bit, but does include some gems and info...
I need to fix the graphic. The Moog Source is now on top of the Clav (on the grand), and the Yamaha CS50 ("new in 1997") is now on the Hammond.
Page plays a Hammond B-3 organ with a Leslie speaker, a Hohner D6 Clavinet, a Moog (not a Mellotron), a Fender Rhodes electric piano, a grand piano, a theremin, and a Yamaha (presumably from the Great Went disco set) added 8-16-97 and first used throughout tour in the fall of 1997. The various keys are arranged on stage as follows (stagefront at the bottom of the image):
Hammond: Page's Hammond B-3 organ (used since summer '92) was rebuilt by Al Goff, of Goff Professional, Newington, CT, regarded as the best in the business, with clients including Keith Emmerson (of Emerson, Lake, and Palmer & Emerson Lake and Powell), the Page/Plant tour, Sheryl Crow, and Paul Schaffer (of David Letterman's band). Goff modified Page's B-3 to have a solid state preamp (for roadworthiness), but the Leslie has an onboard tube amp, reportedly the only way to get that classic Hammond growl and scream. For more info on the Hammond, see The Hammond FAQ
Leslie: Page uses a Leslie 122 speaker (with built-in tube amplifier), also rebuilt by Goff -- this is the speaker with the front inside "spinner" behind Page's organs. The tweeter (the horn speaker on top of the woofer) spins (speed is controlled by the organist, usually with a draw bar at knee level), deflecting the sound from the woofer in a 90-degree elbow, creating a vibrato effect on the bend and frequency of the tone as the sound goes a small distance further away and closer to the back of the cabinet. There is thus a Doppler effect, and no "sound deflector". At a concert, the sound from the speaker is picked up by anywhere from one to four microphones before being sent through the PA system. Even with today's digital technology, it's difficult to create just the right organ sound without a Leslie speaker. For more info on the Leslie, see The Hammond FAQ
Clavinet: The Hohner Clavinet rests atop the grand piano. It was previously reported as a D6, but that has a wooden case; given the black top, it is likely an E7 or a Duo (D2). (See the photos in the liner to A Live One.) It's used particularly in "Tweezer", "Scent of a Mule", and "You Enjoy Myself". For Clav elsewhere, check out the Wild Magnolias' self-titled debut album, which Josh Paxton described as "nothing but deep, deep New Orleans funk, recorded circa 1973."
Fender Rhodes: This keyboard is an antique, a valuable collector's item not manufactured since 1976. Page's is positioned directly behind him when he's playing the grand piano. The inside is like a xylophone, except that each key hits small metal rods that vibrate in front of magnetic pickups (rather than hammer-struck metal bars picked up by a microphone), sending a signal just like an electric guitar (rather than like a piano). The rods are touch-sensitive, and the Rhodes even has a sustain pedal. It's connected to a standard keyboard amp, and produces a very nice clavichordish sound. (Note that Billy Joel plays one through a phase distorter.) More info on the Fender Rhodes.
Grand Piano: Page had said he wouldn't play "Loving Cup" until he had one, and Phish began playing the song at this show. A 7'6"" Yamaha C7 "baby grand" piano replaced a Yamaha CP-70 beginning 2-3-93. As Hank noted 6/6/99, a full grand piano is 9' long.
Moog Source: On top of the Hammond B-3 is a Moog Source, built in 1981 "as a replacement to the classic Minimoog. It is a three octave monophonic synth, but it was one the first keyboards to have presets and memory in it. I only know of one famous user, that would be the synth pop band New Order, who used it for the bassline of the early techno classic Blue Monday." (Jamie Rinaldi ) "It is silver, with membrane buttons. It is a monophonic analog synth. I know many synth pop and techno/house performers use them, but I'm only sure of one recording its used on. That is the synth pop classic 'Blue Monday by New Order. (It does the whole 'um pah um pah' octaving synth bass line). Page tends to use it for leads, and some odd FX sounds (like on 'Mike's Song' on Slip Stich and Pass). 'Frankenstein' is probably the best example of him playing the synth." (Jamie Rinaldi firstname.lastname@example.org> 7/23/98)
Page does not a Mini-moog (remake of the original, without kinks) but the Source (much more digital in nature) and not a Mellotron, which wouldn't fit on top of the B3.
Yamaha CS80: In summer 1997, until perhaps Summer 1999, Page used a larger polyphonic synthesizer, though possibly not always the same one. It was on the audience side and closed him into a square of keyboards. It has sometimes been confused as a Moog MemoryMoog, but is not. In the winter 1997 shows, it appeared to have the woodgrain finish and knob placement of a Sequential Circuts Prophet-5. In The Phish Book there's a Yamaha CS80 (a five-octave 250lb monster) right beside the B3. "Lots of people used the CS80, including Stevie Wonder and one of the guys from Tangerine Dream." (Jamie Rinaldi ) But __ confirmed via binoculars 10/2/99 that it's a CS-50, not a CS-80: "The CS-80 does not have quite as many of the multicolored buttons right above the keyboard, and does not have the full bank of sliders from the middle of the panel all the way to the right end." ( 10/11/99) See also vintagesynth.com.
Synths Change: "Page has been known to rotate synths in his lineup. I saw a korg prophecy atop his b in cleveland '95. The thing was a fucking nightmare to program, which might be why he got rid of it, but then again, I don't know if he programs his own synth sounds ( very few keyboardist do ), but his mastery of drawbar settings lead me to believe so. Also I have seen the flatpanel moog as seen in the Phish book and a Live One inserts slide in and out of his rig, probably for repairs here and there. Keep in mind that page has a strict taste for the real deal (another reason why he probably abandoned the korg), and aside from the piano, organ, and rhodes, analog synths constantly breakdown, go out of tune, and do strange shit at will (all of wich add to the excitement of live performance) so this explains his constantly rotating analog kit." (Brad Cramer 7/19/99)
Mellotron (for those interested anyway): Richard Melcher () emailed (10/20/96) that he "found this on the King Crimson FAQ and thought it might be of intrest to some. ...John Medeski has used this instrument...
Al Goff emailed (5/7/96):
Lessons? Page reportedly learned how to play Synthetic Sounds in 1997 from Aaron Manger of the Disco Biscuits.
Trey's Keys: Trey has been making increasing use of a mini-keyboard, as part of stepping back with and from his guitar, and also as part of the "new" Phish sound (post-1997). According to Guitar Player (August 2000), the keyboard is a Yamaha AN1-X keyboard synthesizer. (Steve 7/16/00) Recently, it has been seen especially in "Sand" but also e.g. during "Guyute" 10/5/00.
Thanks also to Alan Verostick , Bob Boster , Joe Rut "passing along info from the AOL Hammond organ forum where Goff posts", , Jonathan Dennis Kirshbaum , Mike Gallant , Erik Rowland Janus , Charles B. Gillett , Eric Fein , Jonathan Sweigart (4/15/99), Richard Tessel (11/20/97), R. Barnum (3/15/98), Douglas La Combe (5/4/98), Andrew Q. Winter (11/10/98), Stewart (5/20/99).
"Even when someone's taking a solo, it's not ever solo. I don't really think there's ever solos [in Phish performances], except the end of Squirming Coil, where Page is actually playing by himself.""
-- Jon Fishman, 4/22/92 interview with Shelly Culbertson"
Phish.net is a non-commercial project run by Phish fans and for Phish fans under the auspices of the all-volunteer, non-profit Mockingbird Foundation.
This project serves to compile, preserve, and protect encyclopedic information about Phish and their music.
The Mockingbird Foundation is a non-profit organization founded by Phish fans in 1996 to generate charitable proceeds from the Phish community.
And since we're entirely volunteer – with no office, salaries, or paid staff – administrative costs are less than 2% of revenues! So far, we've distributed over $1,000,000 to support music education for children – hundreds of grants in all 50 states, with more on the way.