[Adam Jones] How to Recreate the Tool Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Adam Jones, the guitarist of Tool, is renowned for his innovative riff construction and spatial, heavy sound. His playing style merges the complexities of progressive metal with the darkness of doom and alternative rock, making him not just a “riff maker” but a crucial element in supporting the band’s overall soundscape.

In the iconic track “Schism,” the contrast between clean tones and heavy riffs showcases his use of polyrhythms, while songs like “Lateralus” and “Jambi” highlight grand structures and sonic waves. Notably, in “Jambi,” he employs a talk box, giving the guitar sound a human-like quality that leaves a strong impression.

Jones’s sound design is characterized by a unique setup that involves running multiple amplifiers simultaneously, allowing different frequency ranges to be shared. This results in a guitar tone that possesses depth, rather than merely being distorted or clean. His ability to blend vintage and modern gear is also noteworthy, as he mixes a 1970s Marshall with a contemporary Diezel to achieve a one-of-a-kind tone.

Overall, Adam Jones’s sound transcends genres like heavy metal, alternative, and progressive, approaching what can be described as “sound art” that immerses listeners.

In the following sections, we will organize the amplifiers, guitars, and effects he actually uses, explaining how that distinctive sound is constructed.

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List of Amplifiers and Features

Adam Jones’s amplifier setup is a critical component in shaping his unique tone. Rather than relying on a single amp, he drives multiple amplifiers simultaneously, assigning different roles to each to achieve depth and range in his sound. Below are the confirmed amplifiers he uses and their features.

Primarily, he uses the Diezel VH4, which he introduced around 1994. This high-gain amp features 100W output and four channels, serving as the foundation for Tool’s heavy and three-dimensional riffs, as heard in tracks like “Schism” and “The Pot.”

Another key amplifier is the 1976 Marshall Super Bass (modified by Friedman). Used in conjunction with the Diezel, it enhances the low-end thickness. The vintage warmth and harmonic richness it provides blend seamlessly with the modern VH4, achieving a coexistence of “hardness and softness.”

From the mid-1990s to the 2010s, he also utilized the Mesa Boogie Dual Rectifier. This three-channel amp is known for its aggressive attack and thick distortion, playing a significant role in shaping the sound of Tool during the “Ænima” era.

Additionally, he has long used the Bogner Überschall and Rivera K120TRE Knucklehead Tre, both powerful 120W amplifiers that, when combined with the Diezel, provide a wide range of gain and dynamics.

For clean tones, the classic Roland JC-120 Jazz Chorus is employed. Tool’s clean parts are not merely “quiet sounds” but possess transparency and expansiveness, supported by the stereo chorus of the JC-120.

In the past, he has also been seen using the Sunn Beta Lead (from around 1994 to 2003) and a small Roland Cube 15 (specifically for the talk box). There are also unconfirmed reports of a Peavey Amp being used at times.

While each of these amplifiers is highly capable on its own, the key for Adam lies in their “role division.” The Diezel provides the main modern gain, the Marshall reinforces the lows, and the JC-120 complements the cleans, allowing for a layered sound that delivers overwhelming sound pressure and clarity during live performances.

In summary, Adam Jones possesses a rare style that combines vintage and modern, tube and solid-state gear, resulting in the unique Tool sound that is widely recognized.

Types of Guitars Used and Features

Adam Jones’s guitar collection is indispensable when discussing his sound. The most iconic is the 1979 Gibson Les Paul Custom Silverburst, which has become synonymous with Tool’s sound. The silver-black burst color makes a striking visual impact, especially during live performances. This guitar is equipped with Gibson Custom Custombucker™ and Seymour Duncan® Distortion™, with meticulous attention to details like CTS pots and Orange Drop capacitors. He has also been confirmed to have used Seymour Duncan JB4 and Custom DDJ in the past.

In 2022, the Gibson Custom Shop Reverse Silverburst Murphy Lab Flying V was introduced. With its reverse headstock and atypical control layout, it stands apart from standard Flying Vs, making it a prototype specifically for touring. The choice to incorporate the Silverburst color into the V shape is quintessentially Adam.

Additionally, he owns multiple Silverburst duplicates, which he uses as backups for his main guitar during live shows. Another notable guitar is the Les Paul Custom Natural Finish (Quilted Maple Top), which appears in songs that require special tunings. A black Les Paul Custom has also been confirmed, serving as a spare for the ’79 Silverburst.

For Tool’s dynamic songs, different guitars are needed for each track. The double-neck Gibson EDS-1275 appears in live performances of “No Quarter.” In the studio, while the exact model is unknown, he has used a Gibson SG and a Guild Acoustic, broadening the sonic palette depending on the song.

He favors Ernie Ball Skinny Top/Heavy Bottom (10-52) strings. This choice allows for a wide range, from clean tones to heavy riffs, making it ideal for Adam’s rhythmic cutting and thick drop-tuning.

In summary, Adam Jones’s guitars combine “visual presence” with “sonic thickness,” and by centering around the Silverburst Les Paul, he brings a diverse range of variations that support Tool’s unique, profound, and heavy sound.

Effects and Pedalboard Setup

Adam Jones’s effects board is strategically constructed, albeit simple. While he creates a “wall of distortion” by combining multiple amplifiers, the effects add texture and special effects to his sound. Notably, he incorporates talk boxes and synthesizer elements, directly connecting to Tool’s atmospheric soundscape.

A standout effect is the Dunlop Heil HT1 Talk Box. Used in “Jambi,” this device alters the guitar’s sound to mimic human voice through the shape of the mouth, becoming one of the highlights of Tool’s live performances. To support this, a dedicated routing setup with the Roland Cube 15 and MXR Dyna Comp is employed.

For distortion, he uses unique pedals like the Abominable Electronics Hellmouth and Gamechanger Audio Plasma. The Hellmouth features treble cut and clean blend functions, while the Plasma utilizes a xenon tube to create a distinctive sound that adds harmonics not found in standard distortion pedals. Additionally, the Foxx Tone Machine Reissue is used for a more aggressive and thick tone.

In the modulation department, he favors the Boss BF-2 / BF-3 Flanger throughout his career, creating Tool’s signature psychedelic texture. The Boss CE-5 Chorus Ensemble has also been confirmed in live performances since 2011, allowing for independent adjustment of low and high frequencies, which combines with the JC-120’s clean sound to create a spacious tone.

For delay, he employs the Boss DD-3 / DD-5 along with the MXR Carbon Copy Deluxe since 2016. With a maximum delay time of 1.2 seconds and a tap tempo function, he achieves precise echoes that sync with the rhythm of the songs.

Other auxiliary roles include clean boosts from the MXR Micro Amp and Xotic RC Booster, EQ correction from the Boss GE-7 and MXR M108S, and wah effects from the Dunlop Cry Baby BB-535 Wah. The use of Goodrich or Ernie Ball volume pedals and the Peterson StroboStomp tuner contributes to stability on stage.

Moreover, live performances incorporate synthesizer equipment like the Roland PK-5 MIDI pedal + VK-8M module, Access Virus B/Indigo, and Moog Taurus, expanding beyond the guitar’s role to encompass bass and ambient elements. This allows Tool’s sound to transcend mere “guitar plus band sound” into a grand soundscape.

In summary, Adam Jones’s effects setup balances distortion, modulation, and spatial effects while strategically introducing special effects to create “inevitable sonic effects” in his music.

Tone Settings, EQ, and Mixing Approaches

Adam Jones’s sound design goes beyond simple switching between distortion and clean tones; it meticulously focuses on “frequency division,” “spatial depth,” and “song-specific arrangements.” Tool’s music is supported by polyrhythms, odd time signatures, heavy bass lines, and complex drumming, requiring precise adjustments to ensure the guitar stands out without getting buried.

As a basic EQ setting, the Diezel VH4 and Bogner Überschall typically maintain a thicker midrange while reinforcing the lows with the Marshall Super Bass. When played alone, the Diezel produces a modern, cutting sound, but layering it with the Marshall’s low end creates “weight” and “depth.” This frequency division has become crucial since the Lateralus era, where the guitar does not dominate the band but serves as an “acoustic pillar.”

For clean tones, the combination of the Roland JC-120 and Boss CE-5 Chorus Ensemble is key. Here, a slight cut in the low end and an emphasis on the mid-high range are employed. This allows for a transparent clean sound that does not clash with the bass and drums. The three-dimensional clean heard in the intro of “Schism” is precisely due to this combination.

Regarding delay, he uses the Boss DD-3 and MXR Carbon Copy Deluxe, adjusting settings for each song. In tracks like “Right in Two,” he utilizes tap tempo to synchronize the delay with the song’s rhythm. The delay time is typically set around 400-600ms, often with shallow feedback to fill the space. Conversely, in ambient sections, he increases feedback to enhance stereo effects.

Mixing approaches are also distinctive. Adam’s guitar tends to be positioned slightly towards the center rather than panned widely left or right, emphasizing the riff unison with bassist Justin Chancellor. This design focuses on the “fusion” with the rhythm section rather than having the guitar assert itself independently. According to engineering reports, Tool’s guitars are often mixed with a stronger low end, reflecting the presence of the Marshall Super Bass.

For specific song settings, in “Jambi,” a dedicated routing for the talk box is set up, with compression applied via the MXR Dyna Comp before passing through the Cube 15. This compensates for the volume instability typical of talk boxes. In contrast, “The Pot” and “Vicarious” emphasize high frequencies to highlight the sharpness of the riffs, while “Pneuma” and “Descending” bring the lows forward, actively incorporating spatial effects to create a grand sound.

From an engineering perspective, Tool’s recording process is unique. They often record multiple amps simultaneously and blend them later, resulting in a thick sound even with fewer guitar tracks. The standard EQ processing involves slightly cutting the lows around 200Hz and emphasizing 500Hz to 1kHz, allowing the guitar to stand out in the midrange without interfering with the bass and drums’ lows.

In summary, Adam Jones’s sound design is established through “role clarification within frequency division” and “spatial processing specific to each song,” with this philosophy being thoroughly applied during the PA and mixing stages. This is the source of the immersive experience unique to Tool.

Affordable Alternatives to Recreate the Tone

To fully replicate Adam Jones’s sound, high-end and rare gear like the Diezel VH4 and the 1979 Gibson Les Paul Custom Silverburst are essential, requiring a significant investment. Therefore, here we present more affordable options that can help you approach a “Tool-like sound” with commercially available gear, ideally within a range of $1,000.

For guitars, while the Gibson Les Paul Custom is expensive, the Epiphone Silverburst model can be obtained for under $1,000. It closely resembles Adam’s iconic Silverburst in both appearance and sound, allowing you to experience Tool-like riffs with the thick sound of humbuckers. Be sure to use Ernie Ball Skinny Top/Heavy Bottom (10-52) strings to maintain tension for drop-tuning riffs.

Regarding amplifiers, while Diezel and Mesa Boogie are prohibitively expensive, you can enhance your sound using multi-effects units with amp simulation features from brands like BOSS or Line 6. The BOSS Katana series, in particular, covers a wide range from modern high-gain to clean tones and is reasonably priced, making it an excellent choice for those looking to start crafting Tool-like sounds.

For effects, it’s crucial to have gear that creates “modulation” and “space.” The Boss BF-3 Flanger is available new and is the same model used by Adam, while the CE-5 Chorus and DD-3 Delay are also readily available. Combining these will allow you to get closer to the clean textures of “Schism” and “Lateralus.” Additionally, incorporating a Cry Baby Standard Wah will enable you to recreate phrases that utilize wah effects, as heard in “The Pot.”

For beginners, multi-effects units like the Line 6 HX Stomp or BOSS GT-1000CORE are highly effective. They include amp simulations and spatial effects, making them immediately useful for live performances or home practice. The HX Stomp, in particular, includes models for Diezel and Mesa amps, allowing you to create a relatively realistic Tool-like sound.

In summary, by starting with “Epiphone Silverburst for guitar,” “BOSS Katana for amp,” and “BF-3 + DD-3 + CE-5 + Cry Baby for effects,” you can achieve a thick Tool-like sound for under $1,000. If you have a bit more budget, incorporating a multi-effects unit like the HX Stomp will allow for finer adjustments to amp models, bringing you closer to Adam Jones’s authentic sound.

Summary and Conclusion

Reflecting on Adam Jones’s sound design reveals that its essence lies not in being merely a “guitar sound” but in an “architectural sound design” that governs the entire band’s acoustics. As a guitarist, he brings a sculptor’s and visual creator’s sensibility, designing sound in three dimensions.

To achieve this, he combines multiple vintage and modern amplifiers, dividing frequency ranges. By blending the lows and harmonics of Marshall with the modern distortion of Diezel and the transparency of the JC-120, he creates a tone that fills every frequency range, enveloping live venues. Additionally, by strategically using modulation effects like Flanger and Chorus, along with special effects like talk boxes and synthesizers, riffs and arpeggios transcend mere accompaniment to become “experiences.”

Moreover, his playing style emphasizes “precise riff placement” and “texture selection” over technical speed. The polymetric riffs of “Schism,” the build-up in “Lateralus,” and the talk box in “Jambi” all reflect a deep consideration of “how the sound resonates.” Thus, to replicate Adam’s sound, one must focus on “how to design the role within the entire band” rather than just the gear itself.

For beginners chasing his sound, acquiring all the gear may not be realistic. However, a combination of Epiphone Silverburst and BOSS effects (BF-3, CE-5, DD-3, Cry Baby) can still provide a solid Tool-like atmosphere. Furthermore, utilizing a multi-effects unit like the Line 6 HX Stomp or BOSS GT-1000CORE can simplify simulating amps and spatial effects, making sound design at home or in the studio much easier.

In conclusion, Adam Jones’s sound design values “the philosophy of acoustic design” over “the luxury of gear.” By being mindful of frequency division, spatial processing, and riff placement, you can approach Tool’s world with gear that suits your environment. Ultimately, the key is to play the guitar with a sense of “sculpting sound.” This is the unique sound art that Adam Jones continues to present through Tool.