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TREY25 ODS | LINE 6 HELIX STADIUM | Release Date: 12/01/2025
Trey 25 ODS! My latest preset for Trey Anastasio’s 2025 guitar tone for the Line 6 Helix Stadium.
Designed around Trey’s rig in the later part of 2025, using the Dumble Overdrive Special amp for its three dimensional, sparkling clean channel and its creamy overdrive channel. I took the Anastasio25 preset for the Helix and completely re-worked it for the newly released Stadium. Every effect block got re-tuned now with on/off switches for every effect block through the new STOMP A | STOMP B option in the Stadium. Also added is a snapshot scroll switch for the Whammy II which mimics the way Trey used to scroll through it.
The CLEAN channel is sparkling clean, even when pushed hard. It’s great for that crisp, spongy, clean tone we loved in the mid to late 90s with his CAE / Groove Tubes and Deluxe Reverb rigs. The Mango Song, Piper, YaMar, among other songs are great examples of this beautiful, silky, clean tone.
The AMP channel has more grit but cleans up nicely with pick dynamics. A great sounding amp that can get crunchy and have more bite. Breaks up even more with a subtle push from the Klon, which is a great combo. Great for songs like Ghost, Chalkdust Torture and Prince Caspian. I find myself using this channel a lot as I love having so much dynamic control with the amount of my pick and strum attack.
The effects in the preset contain the usual suspects: Whammy II, Vox Wah, MuTron (newly added), Tubescreamers, Ross, Klon, Vibe, SupaPuss’, Reverse Delay, Leslie, Reverb, Hard Chop Tremolo, Boomerang and the Growler, a nasty bassy synth sound that Trey’s been using lately.
I spent a lot of time dialing in this amp and effects, trying them out at several live shows with my bands, Touch of Trey (phish & dead), A Live One (phish) & HeartByrne (talking heads). Testing them at home with several different monitoring systems: FRFR monitors, PA monitors, Studio monitors and Headphones, and then really dialing them in while pushing them at very loud live venue levels. I believe they’re balanced very well and sound really good in the mix!
TREY25 ODS | LINE 6 HELIX STADIUM | Release Date: 12/01/2025
Trey 25 ODS! My latest preset for Trey Anastasio’s 2025 guitar tone for the Line 6 Helix Stadium.
Designed around Trey’s rig in the later part of 2025, using the Dumble Overdrive Special amp for its three dimensional, sparkling clean channel and its creamy overdrive channel. I took the Anastasio25 preset for the Helix and completely re-worked it for the newly released Stadium. Every effect block got re-tuned now with on/off switches for every effect block through the new STOMP A | STOMP B option in the Stadium. Also added is a snapshot scroll switch for the Whammy II which mimics the way Trey used to scroll through it.
The CLEAN channel is sparkling clean, even when pushed hard. It’s great for that crisp, spongy, clean tone we loved in the mid to late 90s with his CAE / Groove Tubes and Deluxe Reverb rigs. The Mango Song, Piper, YaMar, among other songs are great examples of this beautiful, silky, clean tone.
The AMP channel has more grit but cleans up nicely with pick dynamics. A great sounding amp that can get crunchy and have more bite. Breaks up even more with a subtle push from the Klon, which is a great combo. Great for songs like Ghost, Chalkdust Torture and Prince Caspian. I find myself using this channel a lot as I love having so much dynamic control with the amount of my pick and strum attack.
The effects in the preset contain the usual suspects: Whammy II, Vox Wah, MuTron (newly added), Tubescreamers, Ross, Klon, Vibe, SupaPuss’, Reverse Delay, Leslie, Reverb, Hard Chop Tremolo, Boomerang and the Growler, a nasty bassy synth sound that Trey’s been using lately.
I spent a lot of time dialing in this amp and effects, trying them out at several live shows with my bands, Touch of Trey (phish & dead), A Live One (phish) & HeartByrne (talking heads). Testing them at home with several different monitoring systems: FRFR monitors, PA monitors, Studio monitors and Headphones, and then really dialing them in while pushing them at very loud live venue levels. I believe they’re balanced very well and sound really good in the mix!