Adam Jones marshall question

[Norton666]

Those settings would be ungodly loud , but still wouldnt be as dirty as you hear in his tone. Something else is going on in there

 

[cardinal]

Actually I think he dimes the mids on the VH4.

 

[Atropos_Project]

clearly it's a fake headshell for a Kemper. Nothing to see here, move along.

 

[zakmichael]

You have to have a 1979-1982 Silverburst LPC to nail the tone, it's all about the metal flake paint!! Haha Jones is full of shit! I actually have a Silverburst as well. Anyways my JCM 900 and Soldano SLO both get into the territory and sound good but it would be fun to run at his actual settings and hear what it sounds like in front of it.

 

[TIBrent]

He's just using that amp to blend with the VH4. Both amps are always on (no switching). There is no master volume and notice how it is set up.....mids cranked, no bass. He not going after too much thrash with this but an overall stage presence. Nothing in his rig is boosted. The Microamp pedal is in his board loop with the Boss DD3 and BF2. Since they suck a bit of volume, he uses the Micro to get the loop level right.

Yeah dude, your facts aren't straight here. The Marshall has A) always been in the rig & the diezel is only there to add extra low end to his sound (the mesa was too saturated for his liking, the Diezel is less saturated & more focused sound) B) The Micro is not there to simply get the loop level right, he uses no loop on his rig & it is not a buffer, it acts as a feedback enhancer uses to give his extra amp sustain for certain leads/passages (because he uses no e-bow like a lot of folks insist he does), since he doesn't stand 2 feet from his cabinets this pedal boosts the feedback level enough so he can play with the overtones.
-Brent

 

[stephen sawall]

Actually I think he dimes the mids on the VH4.

He does.

 

[EXPcustom]

It's not to hard to figure out what gives him that tone, what's been in his rig since the beginning that's always on and its not his Marshall. Think about it...

 

[D-Rock]

My two fav tones of Adams are on Undertow and 10K Days. Even though they are both different sounding.
When I saw them live a few years ago, I didn't see a Marshall onstage. Only 2 VH4's and 2 Mesa Recto cabs. Is the Marshall out of the touring rig now?

 

[Mr. Willy]

modded amp too, not sure who done it. it's a well kept mystery.

Yeah. He mentioned that someone's had their hands in it, but he never says who it was or what was done. I remember reading that the channels were wired together internally, but it looks like there's a jumper cable in the inputs. I like his Diezel tone, but prefer when he was using just the Dual Rectifier and Marshall.

Look at the pic, he externally jumping the inputs and using both volumes. The only mod done to the amp was converting it from a Super Bass to a Super Lead.

Did you miss where I said that the inputs are jumpered in my post, or did you not read that far?

 

[Kapo_Polenton]

Good point about cold biasing.. i think my traynor is naturally cold biased because the gobs of gain i can get from the yba-1 are ridiculous just by changing mixer resistor values alone. The distortion is also a tad hard and very crunchy. That's also a nice trick for gain boost.

 

[jonl]

It's not to hard to figure out what gives him that tone, what's been in his rig since the beginning that's always on and its not his Marshall. Think about it...

Care to share?

 

[dirtyfunkg]

It's not to hard to figure out what gives him that tone, what's been in his rig since the beginning that's always on and its not his Marshall. Think about it...

Care to share?

Fingers and the Silverburst LPC's.

I've been able to get a very convincing Aenima/Lateralus tone out of my VHT. There's something so 3D about those albums that I think is a huge result of the 2-3 amp setup. The VHT (the CLR combo, not as much the UL) has that uncompressed, 3D quality when cranked that's just amazing.

FWIW, I've been able to get a very convincing Opiate and Undertow tone with just my Peavey VTM 60. Depending on volume, certain dip switches get used or don't. BTW, incredibly underrated amp for the uninitiated.

 

[Ventura]

Fingers and the Silverburst LPC's.

There's something so 3D about those albums that I think is a huge result of the 2-3 amp setup.

I think the guitars have little to do with the tone. I think any Les Paul loaded with similar pickups and not too thick a gloss will get the tone easily. I do.

Secondly, I've never in my life heard 3D music off a CD. I've rarely heard it off a good album (vinyl), but never a CD. Where I hear 3D goodness in "in the room". The room with the amps. THAT is when the voodoo gets funky and good. I love it. I still am SO blown away every time I hear a VH4 go from standby to run. The room is filled with this metallic 3D rubbery bounce. True awesomeness. Anyway, point being, yes to great stereo panned effects and the like on a CD, but never the true 3D bounce from the amp/cab/room off a CD.

Adams tone would be useless in anyone's else's hands/possession. Seriously. What good would it be? Unless you're inclined to write songs just like Tool and know the synergistic qualities/dynamics of jammin with Danny and Justin, the tone is useless. I love Adam's style and tone, sure I do. But if I had to choose which tone "I'd want" for myself?? Something more useful like Slash or Gilbert or whatever would be my preference.

 

[Atropos_Project]

There's something so 3D about those albums that I think is a huge result of the 2-3 amp setup.

Sparseness of most arrangements.
Guitar / bass note choice relationship. (drums as well)
Lack of secondary guitar parts (in most cases).
Vocals not being overly dominant in the mix.
Bass being more dominant in the mix than usual.
Really good mixes and mastering.

I'd say all these things impact their recordings more than his guitar tone does on its own.

 

[dirtyfunkg]

There's something so 3D about those albums that I think is a huge result of the 2-3 amp setup.

Sparseness of most arrangements.
Guitar / bass note choice relationship. (drums as well)
Lack of secondary guitar parts (in most cases).
Vocals not being overly dominant in the mix.
Bass being more dominant in the mix than usual.
Really good mixes and mastering.

I'd say all these things impact their recordings more than his guitar tone does on its own.

You guys knew what I meant...

There's a specific passage in the Patient where the lyric is "I must keep reminding myself of this..." and the guitar goes from low to high (pitch) that is just... whoa... beyond the actual formulation of the section, the tone is just so fitting to it. It has this crazy chime to it with amazing clarity.

The tone on Stinkfist (in particular) also has a similar feel. Very percussive and dry, chimey, and still amazingly brutal.

The first two albums' tone was a lot spongier except for the two live tracks on Opiate. It's especially the case on tracks like Swamp Song and Crawl Away. Once he introduced the Diezels, Rectos, and I think there was even a Sunn Beta Lead in there (hugely underrated amp!), the tone became a lot more complex, detailed, and unique. The Marshall I think is still (or at least was still) the foundation tone, with the other amps complementing it.

 

[dirtyfunkg]

Fingers and the Silverburst LPC's.

There's something so 3D about those albums that I think is a huge result of the 2-3 amp setup.

I think the guitars have little to do with the tone. I think any Les Paul loaded with similar pickups and not too thick a gloss will get the tone easily. I do.

Secondly, I've never in my life heard 3D music off a CD. I've rarely heard it off a good album (vinyl), but never a CD. Where I hear 3D goodness in "in the room". The room with the amps. THAT is when the voodoo gets funky and good. I love it. I still am SO blown away every time I hear a VH4 go from standby to run. The room is filled with this metallic 3D rubbery bounce. True awesomeness. Anyway, point being, yes to great stereo panned effects and the like on a CD, but never the true 3D bounce from the amp/cab/room off a CD.
Adams tone would be useless in anyone's else's hands/possession. Seriously. What good would it be? Unless you're inclined to write songs just like Tool and know the synergistic qualities/dynamics of jammin with Danny and Justin, the tone is useless. I love Adam's style and tone, sure I do. But if I had to choose which tone "I'd want" for myself?? Something more useful like Slash or Gilbert or whatever would be my preference.

To me, Adam Jones' tone works for Tool but could work in a lot of other environments. All it takes is a dynamic rock/metal player. It would work a lot better for what I generally do, that's for sure, where brutality coupled with clarity and dryness are super important. It's not a hair metal sound and wouldn't work there. My problem with Gilbert and the like is that, while amazingly badass player, his tone is dated and overprocessed. This is an arena in which Buckethead actually kills him--he has a versatility in tone that just doesn't sound overprocessed. Bucket's live tone is to die for. He's the rare Recto player with amazing tone.

 

[jonl]

You guys are funny, talking about this stuff like its magical lol!
I guess I just need to find a super lead and plug my lpc into it to find out if that's what I am looking for or not.

 

[Ventura]

You guys are funny, talking about this stuff like its magical lol!
I guess I just need to find a super lead and plug my lpc into it to find out if that's what I am looking for or not.

Hey, we didn't start this thread

 

[EXPcustom]

It's not to hard to figure out what gives him that tone, what's been in his rig since the beginning that's always on and its not his Marshall. Think about it...

Care to share?

Its the shitty DoD EQ.

 

[garey77]

Bucket's live tone is to die for. He's the rare Recto player with amazing tone.

I recently saw some live footage of him using an Überschall... Go figure.