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Tool tone/FX sticky thread ver. 1

#441
Condensed Version!!

Effects:

Boss TU-2
Guyatone VTX Tremolo
DigiTech Bass Whammy – Used on "Eulogy" (fifth up/sixth up harmony), "Pupoopie (Live)" (fifth up/octave up harmony), "Third Eye" (octave up), "Schism" (octave down/octave up), "Ticks and Leeches" (fifth up/octave up harmony), "Lateralus" (octave up), "Disposition" (fifth up/octave up harmony), "Vicarious" (octave up harmony), "The Pot" (octave up) and "Right In Two"(fifth up/sixth up harmony).

Tech 21 SansAmp GT2 Distortion
Boss CE-5 Chorus Ensemble
Boss BF-2 Flanger
Boss DD-3 Digital Delay
Dunlop MXR Bass Envelope Filter
Colorsound Tone Bender Fuzz
Foxx Fuzz/Wah/Volume-Volume Pot Removed

Distortion(dirty) channel-(Comes after the modulation signal is sent to clean amplifier (8x10), the modulated signal is returned to the grit/distortion channel then sent to the dirty amplifier(4x12)

Pro Co RAT Turbo Rat Distortion Pedal – run with low gain into his 4x12 before the GEB-7 for a grit channel.
Boss GEB7 EQ – run into his 4x12 after the Turbo RAT for a grit channel, for presence
Prescription Electronics-Rx Overdriver used after the GEB7 in his dirty chain

Misc Effects-Live "play" extra pedal board

MXR Bass Envelope Filter
MXR Bass Octave Deluxe
Red Witch Pentavocal Tremelo
Red Witch Titan
Guyatone BR-2

These pedals have not been confirmed to be used on any recordings, but have been seen on his board in studio snapshots.

Lovetone Ring Stinger
Lovetone Flange With No Name
Line 6 FM4
Lovetone Wobulator
Lovetone Brown Source
Lovetone Big Cheese
Lovetone Doppelganger
Lovetone Meatball

Amplification:

Gallien-Krueger 2001RB head x3 (1 Dirty, 1 Clean, 1 Spare)
Mesa Boogie Roadready 4x12 (For Dirty)
Mesa Boogie Roadready 8x10 (For Clean)
Demeter Amplification VTBP-201S Bass Preamp running direct to PA

Former Rig:

Mesa Boogie M-2000 head
Mesa Boogie M-Pulse
Mesa Boogie Bass 400+
Mesa Roadready 8x10 (in place of the 4x12)

Basses:

Main bass is a Wal 4-string he bought on a friend’s recommendation during the recording of Ænima. The bass’s woods and electronics help create the midrange cut and punch for which he is known. Justin also has three other four-string Wals: an identical model to his main bass, but with less midrange response (used on "Wings For Marie (Part 1)" "Parabol and Parabola" and "10,000 Days (Wings Part 2)", a Mark III with a greenburst finish (used for the harmonic sections in "Right In Two"), and a lined fretless with a walnut top (used in the second verse of "Lateralus" and parts of "Rosetta Stoned").

Plays Ernie Ball Hybrid Slinky strings (.045, .065, .085, .105) He switches out the low .105 string for the .110 from the Ernie Ball Power Slinky set.

Music Man Stingray – Used on "Forty-Six & 2", "H.", "Pupoopie" and "No Quarter".

Gibson Thunderbird – Used once for "Prison Sex" live in 1995/1996, when he first joined the band.
 
#443
Mark06....I've been super busy, so I hope you don't think I'm blowing you off. And thanks much for the Wal bass tone settings and strings you use.

As for critique, here's one: the breakdown in Hooker...

when you play the part second half of the first riff section, C C C B.. (on the A string), substitute an OPEN D STRING (the higher one, not the Drop D, and let it ring!, just like JC does in Aenima and Jimmy) for the second C. Same at the second half of the riff where you play A A A G#... This should be played 12th fret on the A string, and again, substitute an open D for the second A. When you play this open D in the proper spot in the riff, it provides that odd "lurking/moaning" sound that appears to be "behind" the primary bass riff. I've been looking for a good video to demonstrate this, but haven't found one, and don't have the time at the moment to do one myself. Give it a try and let me know if you concur and hear what i'm hearing.
 
#453
I uploaded these a long time ago and have since deleted the host server these are what i have used for referencing settings since the video release, unfortunately i didnt do the DI settings or the wah variable switch for the foxx pedal.. anyway this is for anyone that would appreciate this.

xephza.png

xaw0hu.jpg


Justin Chancellor effects settings
Justin Chancellor pedal settings
Justin Chancellor Amp settings
 
#454
Also the best pictures i could capture of Paul D'amour's pedals from this video that one of the guys on here shared ( ). Marshall Shred Master distortion (pretty sure it is a shred master because it was released in the early 90s and it just looks like it) > digitech whammy (pretty sure it is the DigiTech WH-1 Whammy because of the year this would have been recorded/aesthetics of pedal) > boss ce-5 (based on color, text shaping, stereo output and mono input, and likelihood of chorus pedal presence) > Vox wah (pretty much entirely based on the silver footbridge, and the audio evidence that it is a wah.)

2wlr12w.png
 
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#455
quick update: I was able to contact Chris Schleyer who confirmed that there is no dry signal sent to FOH. the signal that goes to the demeter is post effects, identical to the signal feeding the 'clean' channel amp.

In his words:
"The Demeter is fed from the Radial and contains all the clean head fx.
The dirty head is post Rat and EQ which are always engaged and is also fed from the Radial.
Typical clean channel fx order is Pitch/Modulation/Dist.
If my memory serves me correctly it is SansAmp/Tonebender/FuzzWah.
The key element missing from the equation would be a very special Wal bass and Justin's amazing technique and feel."

Hope it helps
 
#456
sgl said:
quick update: I was able to contact Chris Schleyer who confirmed that there is no dry signal sent to FOH. the signal that goes to the demeter is post effects, identical to the signal feeding the 'clean' channel.

In his words:
"The Demeter is fed from the Radial and contains all the clean head fx.
The dirty head is post Rat and EQ which are always engaged and is also fed from the Radial.
Typical clean channel fx order is Pitch/Modulation/Dist.
If my memory serves me correctly it is SansAmp/Tonebender/FuzzWah.
The key element missing from the equation would be a very special Wal bass and Justin's amazing technique and feel."

Hope it helps
Click to expand...

There really would be no other way to send the Demeter D.I than from post effects. For the same reason his signal was never split from the TU-2 or the Whammy for his "dirt" channel. Before his board pic or Dunlop vid we didnt know for sure how it was split.
 

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