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Progressive Metal / Alternative Metal1996Aenima

Forty Six & 2 Amp Settings

by Tool (Adam Jones)

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Original Recording Settings

Well-SourcedResearched tone data for "Forty Six & 2" by Tool (Adam Jones)

Original Gear

Guitar
~1979 Gibson Les Paul Custom, Silverburst finish
Pickups
Seymour Duncan — likely SH-4 JB or custom Duncan Distortion (SH-6) variant. Debated: Jones said 'Seymour Duncan Super Distortion' (likely meaning the Duncan Distortion). His signature guitars ship with Duncan Distortion pickups. (Bridge only)
Amplifier
1976 Marshall Super Bass Model 1992 JMP 100W (primary) — converted to Super Lead specs by Dave Friedman. Channels jumpered together. JJ EL34 power tubes. Likely blended with Mesa/Boogie Dual Rectifier (secondary).
Channel
Both channels jumpered (classic non-master-volume Marshall technique)
Tuning
Drop D (D-A-D-G-B-E)
Pickup Selector
Bridge pickup only. Volume: 10, Tone: 10. Dynamics controlled entirely via guitar volume knob.
Strings
Ernie Ball 2215 Skinny Top Heavy Bottom .010-.013-.017-.026-.036-.052

John Ziegler (2005, Friedman forum): 'The Marshall Super Bass was the sole amp used on Tool stuff up through Aenima.' Diezel VH4 likely NOT on this recording — introduced during Aenima touring, became central from Lateralus onward. Marshall cab with Celestion Greenback speakers.

Amp Settings

Bass
0.0
Mid
10.0
Treble
3.0
Presence
4.5
Volume
5.0
Settings documented for 10,000 Days sessions (Guitar World, Joe Barresi documentation): Presence 4.5, Bass 0, Middle 10, Treble 3, Volume I: 4, Volume II: 5.5. Extrapolated backward to Aenima — the core philosophy (maxed mids, zero bass, moderate volumes, jumpered channels) has been consistent across Jones' career. Specific knob positions may have differed in 1996. The Marshall Super Bass does not have a separate gain control — volume knobs drive the preamp.

Effects Chain

→
DOD FX40B Equalizer
EQ / Boost
→
Boss BF-2 Flanger
Flanger
→
Boss DD-3 or DD-5 Digital Delay
Delay
→
Dunlop CryBaby (BB-535 model)
Wah
→
1.DOD FX40B Equalizer — Always on. Shapes pre-distortion EQ with a 'frown curve' (opposite of scooped metal) — boosts mids further before hitting the amp.
2.Boss BF-2 Flanger — Used on the intro riff and quieter interlude sections — creates the shimmering, watery texture. Key effect for this song.
3.Boss DD-3 or DD-5 Digital Delay — Subtle delay on some sections, set to match tempo.
4.Dunlop CryBaby (BB-535 model) — Used sparingly as a tone filter rather than rhythmic wah.

Playing Technique

Dunlop nylon picks .73mm and .88mm — slight flex for percussive attack. Moderate to heavy pick attack. Extensive palm muting on main riff — tight, percussive power chords with open-string drops. Signature 'hammer slap' technique: fretting hand hammers on without picking for drum-like attack. Volume knob dynamics to transition clean/dirty without channel switching. No channel switching whatsoever.

Sources+
  1. Guitar World — 'Secrets Behind Adam Jones' Tone on Tool's Jambi' (Chris Gill, Aug 2019) — documented Marshall and Diezel settings from 10,000 Days sessions
  2. Guitar World — 'Adam Jones Talks Fear Inoculum' (Sept 2019) — pickup and pick confirmation
  3. Guitar World — 'Dear Guitar Hero: Adam Jones' — string gauge and multi-amp philosophy
  4. Dave Friedman (Rig-Talk forum, 2005) — Marshall Super Bass specs: super lead spec, JJ EL34, .68 presence cap
  5. John Ziegler (Rig-Talk forum, 2005) — 'Marshall was sole amp through Aenima'
  6. Equipboard.com — Adam Jones gear page
  7. Andertons Blog — Tool tone guide, confirms Dual Rectifier introduction on Aenima
  8. The Gear Forum — 'Deep Dive into Adam Jones Tones' — panning, compression, pickup debate
  9. guitarguitar.co.uk — Ernie Ball 2215 strings, Dunlop nylon picks confirmed

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