Newsgroup: it.arti.musica.strumenti.chitarra
Titolo: il suono dei tool

Ciao niusgrup.
Qualche idea per ottenere il suono di Adam Jones dei TOOL?
La les paul cellò...
Thanks
ed


hmmm. intendi come strumentazione precisa o come setup su che effetti usare?
Nel secondo caso posso dirti che sei hai una les paul che monta pickup non
troppo potenti con una buona distorsione, con poco gain, un echo e riverbero
dovresti ottenere facilmente qualcosa del genere. La timbrica č un po'
particolare...
--------------------------------
Inviato via 
http://arianna.libero.it/usenet

...

Ciao...dei tul non lo so....pero'....conosci i Bra'Deep'O Missile ?
(
www.bradeepomissile.com
)...fanno pezzi originali (cantati in
italiano) mooolto tool-style
il chitarrista usa les paul+mesa v-twin (rack) e finale mesa (mi
sembra il 2:90) con 2 casse 1x12 mesa...effetti...un tc-electronics e
un bad-horsie...
vi consiglio il loro disco...non si sentono cose del genere in
Italia...
ciao 
P.

 La les paul cellň...
Ok la Les Paul ce l'hai... 1 punto per te.... adesso scordala la corda di MI
basso a Re e procurati dei picukp belli incazzati.... un buon delay č
d'obbligo in alcuni brani.... inoltre lui usa varie casse messe a cascata,
tra cui una per basso (!) per ottenere quel suo classico suono presentissimo
... ovviamente escludo che tu abbia tutte queste testate, pertanto lavora di
multieffetto, gain non proprio al massimo e su con i bassi
nell'equalizzazione ...
ps che ampli hai?
ciao

 La les paul cellò...
Qualche tempo fa cercando (parecchio) sul web ho trovato queste
informazioni, riguardanti il lateralus tour
Chitarre:
- 2 Gibson Les Paul Customs dell' 1981, una silverburst e una greenburst.
Una ha un Seymour Duncan JB pickup al ponte e un S.D. Jazz al manico,
l'altra ha solo il Seymour Duncan JB al ponte.
Per i concerti il volume del pickup al manico è lasciato a zero.
-Alcune Natural finish Les Paul Customs per suonare Prison Sex e
Parabol/Parabola live. (le accorda in  Drop-B)
Amplificatori:
-Una testata da basso Marshall modificata senza il -master-volume
con i 2 canali usati insieme. La testata è usata con un Marshall 4x12 cab
-Due testate Diezel a 4 canali , usate con 1 Mesa Boogie 4x12 cab a testa.
Usa le testate sui canali 3 e 4 (overdrive).
Suona attraverso tutte e 3 le testate allo stesso tempo.
per i puliti abbassa il volume della chitarra a 1 e quando vuole
distorcere rimette il volume al massimo
Effetti Flanger Ibanez, Dunlop 535Q Wah, EQ Boss, Digital Delay Ibanez,
Accordatore a pedale,.
Misc
-Virus Indigo Synthesizer (usato per reflection: mentre suona il riff
con la chitarra suona la tastiera con i piedi)
-Epilady (usato per Merkaba e Triad)
Se sai un pò d'inglese, queste sono parole sue in una (rara) intervista:
I plug into three amps at the same time -- even when I play live. For what I
want, I don't think one amp would do the trick. One amp is for a solid-state
sound, one for more of a non-master-volume tone, and the third fills in the
bottom with a cardboard crunch. If you used the amps individually, you'd
find that one doesn't have much low end, and one doesn't have enough high
end. But they're really good together because you're getting three different
things at once, and you can hear all of that in the sound. That's why it
sounds so big.
I use a modified non-master-volume Marshall bass head and a Mesa/Boogie Dual
Rectifier, which I swapped out with a Sunn Beta Lead for the recording. But
my favorite amp is a Diezel, which is a four-channel tube amp from Germany.
It's awesome.
Questo è tutto quello che ho!
Se riseci a capire come fa a suonare in 3 ampli contemporaneamente, per
piacere fammelo sapere! :-)
Ciao
      Marco

Per mettere i puntini sulle i, se a qualcuno interessa (e intende a bit of
english), ho trovato 'ste cose girovagando sulla rete:
"Both Adam Jones and Justin Chancellor (bass) of Tool love Mid's and Highs.
Base your sound on this. When you're equalizing your distorted section (on
your amp or pedal, how ever your set up is), keep your mids very high, your
high's very high, but don't forget about the bass. Turn it down a bit, but
not all the way. Every guitar needs at least a little bass.
That's the main part. Another thing is your distortion. An old, like,
blues/classic rock distortion won't really pull it off. A heavy metal/death
metal pedal does it very nice, but those pedals tend to have A LOT of
saturated distortion. You don't want that. Adam Jones takes a minimalist
approach to the amount of distortion. Turn down the dist so that you have
enough that when you palm mute you can still hear it, but when you're open
you still BLAST, so to speak.
Then there's the effects. He uses a wah pedal, but in an unconventional way.
He never really SOLOs, as you probably already know, so you've just got to
listen to the CDs or concerts to check out how he uses the wah.
He likes flange, but he uses it more in "Aenema" that he does in "Lateralus"
(I mean the CD's, not the songs). I'm almost certain he puts the flange
before the distortion, but don't quote me on that. And he only uses it once
and awhile, so if you don't have a flange pedal or effect, don't cry.
He also uses delay, and often. You need a delay pedal if you don't have one.
Most of the songs are all set the same way. So, once you figure out the
timing/echo/decay of his delay (and as each delay pedal is different, I
can't just give you the settings) you will most likely have every Tool
song's delay down, minus a few tweaks here and there.
His clean tone is basically just everything I mentioned before, but with no
distortion. Most of the time he doesn't even do that. He'll just turn down
the volume knob on the guitar to get rid of the distortion for the time
being. It's that dirty clean sound that he uses. And other than flange once
and a while, there's really no effects on his clean tone except for the
delay (which I have already mentioned.)"
Saribeccamo...
ed