History Of The Tool “Sound”
Tool’s debut record Undertow (1993) features two of the band’s signature songs; “Sober” and “Prison Sex”. While the former demonstrates their willingness to use dissonance and contrasting dynamics to build tension, the latter is a great example of guitarist Adam Jones’ ability to write catchy, pulsating riffs; locking in perfectly with the powerful and energetic drum patterns of Danny Carey.
The band’s sophomore effort Ænima (1996) retained much of the raw edge heard in their debut, and is regarded by many fans as their finest work. Considered more progressive, Ænima has many alternative elements too, with Jones and bassist Justin Chancellor relying more on effects pedals to create variation. The tracks “Forty Six & 2” and “Pushit” put this transition on full display.
Lateralus (2001) and 10,000 Days (2006) saw the group take a slight step back from the hard-hitting style that they had formed. Compared to their earlier work, these albums are viewed as being more diverse with the band delving deeper into their spiritual side. With ambient sections in “Parabol/Parabola” and “Right In Two”, tracks like “Jambi” and “Rosetta Stoned” still deliver regular flashes of aggressive, distorted onslaught. The production on these albums is also a lot more polished and refined; representative of the industry’s change to digital recording mediums in the early 2000s.
Adam Jones’ Guitars
Adam Jones has been synonymous with Gibson Les Paul Custom guitars throughout his career with Tool – specifically Silverburst-finished models. Although Jones owns several Silverbursts, his number one guitar has always been his ’79 Les Paul Custom; made in Gibson’s ‘Norlin’ era. Les Paul models, and indeed most Gibson guitars that were made during this time, are notoriously heavy as they’re constructed from very dense Mahogany.
This is unusual by today’s standards, as the majority of modern Les Pauls undergo weight-relieving processes to improve their ergonomics. Old-school ’70s and ’80s models, though, were not weight-relieved at all. This can therefore be attributed to Jones’ distinctive sound, helping to form the powerful low-end and tight mid-range tones that he’s known for.
Jones uses his Silverburst Les Pauls for both live performances and studio work, and for the most part they have been left unmodified. However, their bridge pickups were swapped out for high-output Seymour Duncan JB humbuckers at some point. Punchy and clear with potent doses of gain, JB humbuckers are a trusted choice and undoubtedly a key ingredient of Jones’ sound.
Epiphone Prophecy Les Paul Custom Plus GX
For their Sound Like video, Matt and Rabea chose the Epiphone Prophecy Les Paul Custom Plus GX Outfit. A brand new Gibson Les Paul Custom would cost more than double the total £1500 budget, whereas the Epiphone is a similar instrument that remains well within their price range – at around the £600 mark.
The Epiphone Prophecy Les Paul isn’t available in Jones’ favoured Silverburst finish, but in terms of its build, it’s actually very similar to a stock Gibson Les Paul Custom. With an all-Mahogany construction, this guitar lets you attain those deep lows, while its Quilted Maple top brings out some top-end clarity to give riffs more focus and immediacy. The body and neck binding is a classy touch, as well as the sleek Ebony fingerboard and tasteful block inlays; as you’d expect with a traditional LP Custom.
However, the Prophecy Les Paul Custom Plus GX is ultimately a modern guitar, and therefore has a number of contemporary features to suit today’s shredders. This includes 24 frets and a ‘SpeedTaper’ D-shaped neck, with a fast-playing satin finish. And as a high-end Epiphone model, the Prophecy Les Paul boasts a pair of genuine US-made Gibson 490 series pickups. The 498T bridge humbucker is loud and fairly hot, akin to the character of a Seymour Duncan JB. From an overall tonal perspective, this guitar gets very close to the sound of Jones’ Gibson Les Paul Customs. The Prophecy Les Paul Custom Plus GX is discontinued, but you can find similar models below:
Adam Jones’ Amplifiers
Adam Jones’ thick and textured guitar tone doesn’t just come from one amplifier; he uses three together. As the sole guitarist in Tool, it has always been essential for him to achieve a massive, stadium-filling guitar sound. And by running through three amplifiers, it allows Jones to cover almost every area of the guitar’s frequency spectrum.
His modified mid-’70s Marshall Super Bass 100 has been a mainstay since the very beginning, with its two channels wired together to create a more aggressive and saturated high-gain sound. This Marshall was used extensively for recording on Tool’s debut album Undertow.
It wasn’t until their second album that Jones started experimenting with a multi-amp rig, throwing a Mesa/Boogie Dual Rectifier into the mix as well as a Diezel VH4 amp head. Forming a more three-dimensional sound, Jones’ tone is noticeably heavier on Ænima. The VH4 could add a richer low-end growl, while the Dual Rectifier injected more gain and top-end fizz.
From the Lateralus era onward, Adam has used his Marshall Super Bass 100 in conjunction with a pair of VH4s (pictured), run through Mesa/Boogie cabinets. It has been documented that he employed Bogner Uberschall and Rivera Knucklehead amps when recording 10,000 Days, but his rig has remained much the same for nearly two decades.
Marshall DSL40R 40W Valve Combo