Tool – 10,000 Days

During an interview about the recording process of Tool's album "10,000 Days" in the April 2006 issue of Guitar World Magazine, Adam Jones had this to say about his use of the Gig-FX Chopper pedal: "I had some custom pedals made. Our engineer on this album, Joe Barresi, is a pedal god, and he knows everyone, I used a Gig-FX Chopper pedal, which has a nice tremolo. We had them work on the pedal so I could go from a clean sound to tremolo and control the tremolo speed as well. The pedal lets me slow it down and speed it up, which really lends a lot of power for creating motion when we’re going from one part to another."

At 2:19, a closeup of Adam's pedalboard shows a Boss DD3 delay pedal.

2:13 on this YouTube video for DunlopTV, featuring Adam Jones's tech, Chris Leahey showing that part of Adam's distorted tone, seen in the pan of his board comes from one of the pedals that includes the Boss BF-2.

Live and in the studio, Jones uses a blend of amps. Two favorites are a 1976 Marshall Super Bass and a Diezel VH-4 “blueface.” On the latter, he never switches out of the ultra-high-output third channel. During the recording of 2001’s Lateralus, he reportedly experimented with a vintage Sunn lead head, too, and for 2006’s 10,000 Days he blended his Super Bass and Diezel with a Bogner Uberschall and a Riveria Knucklehead. Jones drives all his amps hard to achieve his responsive tone. He also uses Mesa Boogie Dual Rectifiers and Marshall and Mesa cabs

Live and in the studio, Jones uses a blend of amps. Two favorites are a 1976 Marshall Super Bass and a Diezel VH-4 “blueface.” On the latter, he never switches out of the ultra-high-output third channel. During the recording of 2001’s Lateralus, he reportedly experimented with a vintage Sunn lead head, too, and for 2006’s 10,000 Days he blended his Super Bass and Diezel with a Bogner Uberschall and a Riveria Knucklehead. Jones drives all his amps hard to achieve his responsive tone. He also uses Mesa Boogie Dual Rectifiers and Marshall and Mesa cabs.

Jones is also a glutten for effects. On the intro to “Reflection” and “The Grudge,” both from Lateralus, he employs a vintage Moog Taurus bass pedal system. But aside from the Heil Talk Box on 10,000 Days, run through a Roland JC-120 and juiced up by a dynamic compressor, Jones’ choices of effects is less esoteric. His wah-wah pedal is a dependable Cry Baby, and his stable of other sound generators includes Boss DD3 and DD5 digital delays, a BF-2 flanger, a Line 6 Delay modeler (which also samples on the fly), a Strobostomp tuner, a tremolo pedal, chorus, and an array of distortion boxes. During experimental phases, Jones has taken the stage with multiple pedal boards at his feet. The irony of this rundown is that Jones has gone on record saying he doesn’t like to use pedals.

In this photo included in this detailed November 26, 2006 breakdown of Chancellor's pedalboard by TalkBass user Tbirdbassist, the Lovetone Ring Stinger is visible.

In this photo included in this detailed November 26, 2006 breakdown of Chancellor's pedalboard by TalkBass user Tbirdbassist, the Lovetone Brown Source is visible.

Visible in this photo, as sourced from this detailed November 26, 2006 breakdown of Chancellor's pedalboard by TalkBass user Tbirdbassist.

Visible in this photo, as sourced from this detailed November 26, 2006 breakdown of Chancellor's pedalboard by TalkBass user Tbirdbassist.

Visible in this photo, as sourced from this detailed November 26, 2006 breakdown of Chancellor's pedalboard by TalkBass user Tbirdbassist.

Carey also uses a kit composed of custom cast bronze shells (3/16" thick and same dimensions as the SONOR, apart from the fact that both bass drums are 22"x18") made from recycled Paiste cymbals, manufactured by master drum tech and drum maker Jeff Ocheltree (mostly on US tours as it is too heavy to readily transport elsewhere; he has also used it on "Jambi" from 10,000 Days).