![]() ![]() Kind of like a late '70s metal panel JMP. * Mercury Magnetics power and output transformers (has a slightly tighter, punchier sound. However it would make a good platform for mods if you want since it's a clean build. Standard Metro kit (I think it's '68 or '69 spec out of the box), but built to match Adam Jones' (Tool) Marshall, based on specs from Dave Friedman. Everything is routed where it should be for the most part. Well, here it is.Īs you can see from the build thread, this was built with some forethought. The outro kicks into double time and the gestures in the guitar, heardīefore over the slow tempo, now take on a surf-like quality.A lot of people have asked to buy this over the years. Highlight the D Phrygian (D Eb F G A Bb C) aspect of this progression.įeedback lines, similar to those heard in the intro, appear between the The fills that begin in bar 9 of verse 2 (again harmonized in 4ths) Lines harmonized in 4ths, slow-bent notes, slides, and heavy use of delay ![]() Here we see good use of theĭevices that are evocative and unobtrusive: long, vibratoed notes, moving Section between the chorus and second verse. The lead guitar comes to the front at 1:58 on the four-bar Voice," understated), while the pre-chorus and chorus allow the guitars to Verse 1 has the guitars playing long tones sotto voce ("under the Modal, almost Eastern feel to the basic D minor tonality. Witness the openingįeedback pitches and subsequent octave licks in the intro that lend a It's the bass and drums that propel this dirge-like plea forĬollective psychic sobriety the guitars provide only atmosphere andĬolor, hanging back unassertively behind the beat. You'll have to listen closely and turn the delay pedal on and off for each measure. At the end is the multi-tap delay Adam uses on the first two eighth notes of the ending passage. When you reach the chorus, turn off the chorus pedal and use just the distortion. At the middle part of the verse turn off the flanger. At the begining of the verses, lower the volume of your guitar and turn on the flanger and the chorus at the same time. The guitar at the begining has the distortion and delay on. The last effect is the delay, set for about 250 to 300 milliseconds on your digital dial or about 2 o'clock on an analog delay. The simulation actually works better if you have two flangers but I don't know too many players with more than one of any effect so we'll stick with this setup. This is my backyard attempt at a leslie simulator: use a flanger pedal set with the speed fast, medium depth, and just a little regeneration, followed by a chorus pedal set as shown for the slower rotation parts. You may be surprised at how close you can come to his sound using nothing more than a standard distortion or overdrive pedal. Here's a pedal setup for Adam Jones' tone on "Sober." Start with a distortion pedal set as shown balance the distortion with the level of your amp so you can get a controlled feedback. There is a delay used at the begining and a multitap delay at the end. In the verses he's using what sounds like a Leslie or a Leslie simulator. His distortion sound is typical of those heard in the '70s and in the more modern sounds of today. The song "Sober" has several effects going on and off. Adam Jones uses Gibson Les Paul Guitars because he likes their wide range of tones. The guitar tone from the album Undertow is, I think the only aspect of Tool's sound that is not radical and unusual. Title: Sound F/X: Tool's Adam Jones "SOBER" ![]()
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