Tool's Justin Chancellor Rig Rundown Bass Gear Tour!

for my whole career I've used diodio strings this is the one that I use live with mega death and I love it I've been with the Dario my whole career even when I was playing bass and Van Halen cuz that's what Dad would play the Dario for life and I say it right the Dario hey everyone this is Chris keys for Premier Guitar before we get into today's Rig Rundown I wanted to share a little bit behind the shoot because it was such a special one for me for two reasons one I've been trying to get this rig rundown since getting this off the ground in 2009 for over 15 years I've been knocking on the door that is Tool uh and as you can imagine there's been a lot of closed doors and hard nose but much credit to Monica at speak epr she had always tried she'd always give it her best effort and this time it finally came through we were able to talk to Justin second reason is I'm a huge tool fan started in punk rock and you know uh really basic rock and roll is what I loved growing up and so when I was first introduced to tul I didn't get it I was too dumb to rock you know same thing with rush it took me a while to get it and then my late 20s a friend of mine Tyler Raymond just kept introducing me to it he picked different songs different moments different moods and I finally it clicked and so I would say at least the last decade of my life well my 30s were had tul as the soundtrack of my life in many of my Adventures Senator round going to see tul I've seen him in Minneapolis Chicago Nashville obviously Knoxville and probably most memorable would be when I went out on Halloween in 2015 with fores said uh friend Tyler we met seeing them with Primus on Halloween and lo and behold they came out and opened with no quarter one of my favorite Le Zeppelin songs but also they dressed theart so that was rad and you mean so going into the shoot at Bridgestone I was obviously nervous and as you'll tell in the first couple minutes I can barely speak just like now but it was great because the team there were prepared and they were ready to welcome us with open arms a lot of times when we go to the bands you know think of bigger Arena acts it's a lot to get into the building sometimes it's harder to get into the building than it is to actually film it but they were ready for us they had us on the list we got right in and uh Justin's Tech Pete Lewis who you see in the video was there from start to finish and he answered a lot of questions on and off camera that either escaped the aners Escape Justin or he just gave a really good cool uh perspective from a tech being you know backing up one of the best base players in rock music right now and Justin himself again you never know what we're going to get with the artist sometimes they don't know themselves what the Rig Rundown is what's expected what want to do what they need to do and Justin was well prepared and so you know as you guys often put in the comments we asked them can you play but it's hard to do that at an arena show there's a lot things going on they got screens to build things to test pyro to do and as you'll see Justin not only puts the bass on and and a lot of times guys will freeze up they don't know what to play they don't know what to play without the context of the band or the music they're you know going to play that evening Justin just rips right into it and from the start to finish you hear a lot of those tool Rifts that we all know and love and after the shoot we left me and Perry and uh Jared were off having a beer it's funny you know when you're air guitar and or do anything with tul we think of air guitar but when it comes to this band specifically a lot of the things that stick with you musically is actually Justin's parts and he plays those throughout the Rig Rundown and he was so humble and gracious he's awesome Monica's great for helping us set us up again you know hopefully we'll get Adam down the line and Danny too for the drum run but uh again Justin and Pete were great and uh without further Ado let's check out the Justin Chancellor R [Music] Ronda [Music] hey everyone this is Chris keys4 from your guitar I'm at the Bridgestone Arena with the white whale one of the white whales we've been chasing since the Rig Rundown was started in 2008 Justin Chancellor on my right Pete Lewis on my left how are you guys doing excellent happy to be here happy to talk to you I feel I feel like I'm Chris Farley on the Saturday Night Live where Chris Farley Show we interviewed Martin soresi or uh Paul McCartney like you know but I'm very nervous but uh we'll get through this I'm done rambling let's talk gear guys we have two wonderful bases a new friend an old friend let's start with the wall okay yeah this is you know the bass I use for most of the songs uh it's not the first one I had it's a it's a basically a replica they made of the first version of this that I had it's slightly different with with the smaller tuning pegs up here lighter weight lighter weight a little bit lighter okay um black as well color there but the same Woods that my first uh wall base that I bought the first one I bought was was made out of how did you fall into the wall family back in those day I I borrowed a friend Greg Edwards who was the bass player from failure um we were recording I was just new to the band and basically my uh whatever I was using at the time wasn't working um I think it was actually a anyway but it wasn't it just wasn't cutting it at the time yeah um for the the the anima record okay um so we borrowed his he had a fretless one that he threed um but it just sounded immediately fit in filled the right kind of area of sound um so then we ordered one and it was this which is like mahogany core um Bird's Eye Maple facings um it's a rock mahogany and Rosewood neck it's kind of laminated um and uh uh Rosewood uh fingerboard now how long would you say that this has been took over for the original one how long have you had this in the stable oh I probably got this 6 months after we record the album so I've had it for 26 years or something I mean the original one but this one I've had maybe 15 years or something okay and and did you use it recording when you come when it comes to recording are you using the old one or you using this one um I used I used this on fear and oculum yeah yeah nice now what should we know Pete that you know have you have a unique relationship with J's instruments on the on here the fans might notice that there's glowing the dark dots this is critical for when the lights go out in between songs we got an amazing crew out here and they make it very bright and then in between songs it's very dark so Justin can see where he can line his fingers up in the dark yeah so you have a starting position and then it's off the races yeah yeah I mean it's where the normal marks are but obviously they they light up when it's dark um one of them moved the other night uh one fret which which was a little awkward yeah but Pete raced up and fixed it pretty a quick uh glow-in-the darkk Quick Change of the dot it was a jazz moment for tul you know that that esoteric note yeah now what should we know about strings oh we're using Earnie ball strings we're using the nickel round round strings love on Ball and uh own Brian all the guys in uh the customer service like we got Derek and uh Tim and there's many names I've forgetting but they're all amazing at erall yeah and it's uh it's a there's a a gauge of the bottom strings 110 and then it's 85 65 45 I think in the regular super Slinky pack this is 105 but because we drop to a d we we pump it down a gug but when you're Justin chanler you can get you know custom made sets for yourself well yeah they do them individual so they just send me out a bunch of 110s and then the regular set now let's get back to the kind of the guts of the wall I know that it has like a onboard filter system you know in terms of like an EQ is that something that's kind of dialed into your you know developed your you know when people hear you guys live and on record it it's part of that sound that W instruments are yeah I mean the preamp in it is just really amazing and powerful and pretty much when I got this base the first time I just popped all the buttons out it's got like a little pick aack gain when you pop the the putt out um and I have everything on 10 apart from the the blend of the pickups which is uh which is uh right in the middle yeah so and that's pretty much all night in the middle or you kind of are you moving a lot um we played the part um on another wall which I have which we do in a dropped uh tuning so it's like a whole tone down okay um so down drop C basically but every note is dropped down and we we uh we dial the base chevel mix blend a little towards the base side to give it a bit more Grant yeah now uh when it comes to using a pi I know you're Dunlop guy how often are you using a pick and what one are you using this is my pick big try um yeah it's 1 mm all right um you know like the the large triangle and uh we made it look pretty put a little spiral on there but yeah I use a peck all night long oh really yeah yeah I did one track on 10,000 days I think wings for Marie which I use my fingers on that but we haven't played that live for a while so at the moment it's just pick tastic all night got it and I'm sure you have a huge stash of them yeah I mean Justin doesn't drop his picks that much he throws them out occasionally and stuff butv yeah it's it's not a pick heavy loss you know he's he knows how to hold on to a pick and play with it obviously yeah now I'm sure with a lot too is with the Dynamics you're using as you're playing with the pick there's probably a lot of how you're attacking the strings too so that's kind of part of the Arsenal that is you know the EQ of the base is how you're hitting it too yeah you can back it off you can damp him with your with your side of your hand and um yeah a lot of it is is the pressure you apply with you know with the attack but uh um a most of the night is pretty on you know yeah sometimes I'm I have to hold it like this between my Knuckles cuz I'm doing little volume sweeps ah so I'll I'll place it up there that's the only time it's in risk of getting dropped I'm a little sweaty it starts moving around and I'm you know doing the volume sweeps but most of the time it's it's pretty much full on downpicking now I know that you had mentioned briefly that you guys are in D drop D what do else any other tunings for maybe the older material you guys are going to yeah well we do the part we drop it a whole tone just to help make it easier for man to sing live cuz that's a pretty high register when we recorded it you know and uh you know consistently over a tour that's hard to keep up so absolutely in order to be able to play the song every night or not every night but a lot of nights we did that for him and that we go to a 135 do we on that the bottom strings are 135 gauge so um yeah the increments kind of go down a little bit as you go the strings and I know that sometimes you've toured and again your SK set list changes every night so is uh the the fr L involved at all on this run no no I used the Fret list once um on a record um couldn't tell you right now what that song was I'd have to do some R I can't remember but um I can actually it was lateralis it was the second verse in lateralis where it kind slides around um but no I haven't really used it I've never used it live um I just play around with it at home uh maybe something I'll get into in the future you know it's a beautiful base ebony fr and it's pretty untouched at this point so I I bet you it would be pretty unnerving to play that live yeah you know I have an upright at home as well and that's just unless you've got some someone on a guitar accompanying you on a fretless for me it's very tough to to kind of find the pitch now now we're are we changing strings every night or how's that working absolutely uh before sound check strings and then if it's a heavy sound check where they're doing a lot of songs I'll change out the D string on it maybe do a complete change and then uh during the show halfway through the show Justin and I listened back to some old Protools tracks of the live shows and uh we were like why don't we do a string change it takes me 5 minutes to do a complete overhaul so he plays on the backup and I'll switch them all out and he gives him that how do you describe that sound of the Fresh B yeah just the just the attack you know like a brightness and and a fresh attack and I think especially once people have been through half a show there is are kind of beaten up a little bit yeah um it kind of cuts back through you know it gives it it up it gives it brightness again yeah basically now what should we know Pete that you have to do with maintenance on these bases from night out and then two or to two what what are some of the you know tips and tricks or what are the things you're having to do to keep these things running honestly they are Rock Solid like legitimately wild and ear ball bases are absolutely brilliant it's lovely working with both those companies I put a little bit of uh little bit of Lube in between rering them check the ination and it's it's honestly golden and we're going through so many different climate changes from Summer to Winter and it's overnight sometimes we were in Florida a few days ago and now we're Subzero up here yeah we're in the Arctic and Nashville here but what are are you ever changing bases in one song the same song are you using two different instruments on a song like let's say intro we do we do a song called calling voices where we all play guitar okay so that's pretty much the only one where I actually walk around Danny finishes his uh chocolate chip trip yeah drum solo and then we all walk up and play guitar and once I'm done with that Pete brings my Basse up we switch out there but as far as Bas is in the same song not really know and speaking of motifs you know that was Danny's Motif on the new record that chocolate trip you had mocking beat what was the instrument you on that oh God mocking beat was uh I had a little uh it's a very unique sound little um uh sequencer A friend gave me okay I couldn't remember what it is called now um but I just made I made a bunch of uh loops on that okay and then uh a friend of mine had made a patch cable so that all the pads were indiv individually able to go to one track so then I was able to mix it and affect each sound differently so I spent quite a lot of time with Joe baresi just kind of making it really uh giving it more depth you know than regular no actual stringed instruments used on that no no there and there was a mocking bird on it that I uh that I recorded once I was in the in the desert one time and kind of tripped it out nice well what should we know about this music man you know you alluded to it you know as you started the tool Journey with uh with the stingray went to the wall now what's this doing in the set I got notes if that's all right to read off the notes all right let me just go over to we want to get this as factually correct as possible so it's a 2018 Stingray special first year of the updated 18vt preamp the old ones are 9 volts okay and it's got the neodium magnet pickups roasted Maple neck and a rosewood fretboard with a oil / wax blend neck and it's uh it's light on than the older models and uh it's got way more power a little bit more head room but I did it was lighter and then I asked them to put a a brass scratch plate on there that's actually kind of added quite a bit of weight back to it but yeah I'm just a big fan of that metal so also made it a little different yeah sorry to jump on you the metal isn't finished so you see any sweat and all that stuff it just instantly goes in there and then at the end of the tour if I haven't remember to wipe it all off it starts getting that patina on and it looks really yeah I was hoping it would slowly go green like the Statue of Liberty but we're probably going to have to wait like 50 years for that now did you know is this Brian's invention or Scotty's invention or Sterling Ball's invention here with the tape what's going on there with the tape ah well this is for we play descending um one of the new checks and we don't actually have the increments of of you know the numbers on the pots here so we had to come up we start in this position quite low down but we obviously when we were in the studio we wanted to uh we did several takes so we wanted to nail the same levels for each part of the song I mean it goes up over 3 minutes each verse goes up a little bit so this is just this was actually original from the studio and um you know it's not particularly attractive but it's the real deal that's what that's what works so we keep it for the live thing if that's how it goes it I don't want to tell you how to you do your job but if the song's called descending and the volume's ascending I feel like you guys missed a chance there but yeah note the high-tech high-tech solution there we got tape and uh looks like different colored markers yeah yeah good old markers blue pink and brown it looks like but yeah it always does the job you know it's just a visual visual thing that works what do you dig about the 18vt preamp you know maybe that's your first I don't know if you've dabbled or have all the other preamps with 18 volts what do you notice as you're playing it just clear and Powerful you know um yeah kind of a nice round sound as well my old music man's a little little more a little more uh high and low you know real like cut at the high end and real very much low end and not so much in the middle I think it's got a little more roundness to it this one yeah now have you ever explored or thought of going beyond the four strings I know that's a you know never really no I make a joke about that but no um I I I would give it a go but I I kind of for me it's it's uh there's so much to explore within the realm of four strings and you know especially with this I got I got 24 Frets on this as well and I've got an octave pedal so I can pretty much go anywhere I mean I can't going lower than the the bottom string is challenging especially with a pedal track that tracking gets a bit weird but um I'm sort of obsessed with just keeping it this way um so you know you can put a thick of string on or uh yeah I'm happy with full I feel like with everything going on you're you're covering a lot of ground sonically you you make a lot of different sounds and Vibes and you know paintings with different abstract colors it's you're doing a lot with four already well and I find you know the there's only so many notes on the scale but there's infinite people say it's all been done and it hasn't you know there's so many different ways of playing one one little sequence you could play the same two notes a million different ways just the way you attack them or the closeness together that you play them so um yeah I just I think it's there's plenty to explore with what we've got already well before moving to amps and then pedals uh there's a friend that I'm kind of shadowing over here what are we looking at here maybe you can just hold that one oh I would love to yeah this is my uh it's one of my favorite bases I got from my friend Nick at norms rare guitars in La it's a 1963 Fender precision Lake Placid blue and as you can see it's it's definitely been played over the years um and I've always on the look for a nice old base you know um that's I've got a small colle collection of old bases but my criteria is that they of course sound amazing this just I mean it sounds just it's loud without being plugged in MH um but also that I can play them that I don't feel bad about actually you know banging away on them so the fact that it's a little beaten up is just more attractive to me it means it's a it's a working base you know how long has this been part of the collection um I've had this about 15 years and I just uh I take it with me it's it's really inspiring to play so I've written a lot of stuff on this and uh and it's really I don't play it in the band it doesn't quite have the output that these guys have all right but um you know I have it on the bus I take it into the hotel room and generally have it around all the time just to warm up or just just to to write on you know yeah I'm sure it's very inspiring yeah it's a beautiful base I mean it's it's probably one of the nicest sounding I've recorded stuff with my other man empty void on this oh yeah quite a lot of it is is uh just sort of through a DI um and it it works really well cuz a lot of the stuff on that we we kind of crunch the sound and and change it quite a bit Yeah so it doesn't really matter what the what the output is as far as that goes but yeah it's a beauty I got to ask before we move on to amps real quick you brought up another uh project I know that you were featured on isis's record panopticon oh yeah alter courses y do you remember what Basse you used on that song no okay oh I do it was it was the original well oh perfect yeah yeah yeah it was not this one but the original one um yeah I I remember cuz I was a bit as first collaboration I'd really done and I was sort of a little nervous about it to go I'd never met the band they they invited me in so I showed up with my whole rig I believe I think I bought my Med bie cabinets and everything and and the pedal board and just thought I'll bring what I know you know works you brought the toolbox yeah so I think it was pretty much my regular sound for that yeah well right on let's uh go on and actually see some of these Mesa Bo cabs all right hey y'all I'm John Baler with premier guitar so our rig rundowns for a long time now have been sponsored by Dario and I'm thrilled to be using the Dario expand pedal board I've got this little guy that fits in my gig bag and like many of you I'm changing pedals all the time love having a board that can shrink as I'm shrinking my board or expand as I'm expanding it and that's why I love the expand pedal board their patented telescoping technology lets me instantly change the size of my pedals playground around it also features a unique cable management system and comes fitted with loops of velcro keeping everything neat and easy to swap the two expand versions comes with either one or two rows depending on your needs so a big thanks to DAR Dario now let's get back to more rig rundowns we are over in amp World talk me through it Justin and Pete okay we are running basically two gallan Krueger heads 2001 RB um um each goes into a separate cabinet okay over by use the 8 by 10 in speakers okay uh that would be a totally clean sound um so no effects on that keeping it really clean a nice amount of low end on it um but trying not to not have it break up at all okay um and then this is the you know 4X 12 cabinet this is actually a brand new custom Cabinet with that where it's approach type I guess that Jim at Mees the Boogie um put together for me I'm really loving it it's got these big old ports it's got a lot more uh roundness to it it fills out the the sound a little more what do you like sorry to cut you off just what do you like about the 12-in speakers for the dirty affected sounds I don't know they just seem to they just seem to hold it well you know like it's without losing too much low end you know obviously you put the we put it through the rat and the eqq which we'll see in a minute but um so one of the the other GK is basically a dirty sound that that powers the uh 12in speakers all right um and we you know we experimented using the 10-in speakers for the dirty sound but it just works out better the blend together this holds the the low end tighter the smaller speakers and this is all right if it flaps around a bit the bigger 12-in speakers can be grally and dirty and still have like warmth to it mhm and what are we using uh I'm assuming those are the demit yeah that's for my di um there's just one one and a backup okay um so the signal splits three ways after you know once the base delivers the signal um one goes to the dirty cab the clean cab one goes to the dirty cab one goes the DI and the DI is like you know the out front of house they use all three there might be sections in the song where it's beneficial to push one of the dirty or the clean got it um especially in the studio we do that a lot with different sections sometimes it's it just Blends better with the rest of the track now when you're recording is this kind of what you would wheel into the rehearsal space and we tool you know tool HQ uh kind of but we have a bunch more cabinets cuz we'll just experiment with all the cabinets I've got um find what's working best and then we'll have all the amps in the control room um so we can move them around switch them out we can control everything from there um and Pete maybe you want to talk about the the splitter yeah we use the all the signal coming the board and stuff and the wait to clean it up and if there's any ground hums or buzzes and the jd7 the radio jd7 is really good for example we have a buzz right here but by just pressing that it gets rid of it so I mean from a Ro's perspective having the signal go into the radio product is brilliant we can flip phase as well if we're in the studio and we're playing around with different cabinets we can play around with that so it's kind of it's great for splitting the signal and it's amazing for troubleshooting especially when we're overseas and there's weird power and all sorts of issues and then uh pivoting over to that cabinet I checked in with Boogie and they were like it's at least 20 years old wow and I don't have any other info on that other than we've used that cabinet for a very long time now Justin obviously I've done my homework and I'm a bit of a Cess fan but what have you been using you know a lot of the GK stuff and the Mesa cabs have kind of been part of your formula for a long time yeah are you ever experimenting with with this or is this kind of kind of like an aella way like you figured it out I'm going to move on to some other stuff um well I mean this 12-in cabinet is a little increment different you know um I was stuck with the same for a while but uh these older cabinets are they don't make them anymore they're flight case ready and they're like serious they're seriously heavy and wey um but I guess they've come come up with ways of delivering the sound without having to do that now so um this is a little different it it it's it's changed the sound I mean we lost it one night um for whatever reason and we had to wheel in the old one and the the difference was quite huge you know it was a lot brighter and um kind of pinkier um so I really noticed the difference that this has been making um I'm always playing with the tone a little bit okay maybe it's cuz my hearing's changing yeah right but uh just just tweaking what I already know basically and otherwise yeah sticking with the same sort of formula well there are a lot of things that change and then that changed your sound and that's a puddle board so if we could do that let's check out let's do it all right gentlemen we are over at the Mother Ship Pete what should we know about routing routing well the Brilliance of working with Justin is it's base on a cable straight into the ear Ball volume pedal which is just brilliant and then it pretty much just swings the the uh the signal flow just swings along the front with a little jump up to the pink pedal that Justin will touch on when he's playing and then uh we go into at the end Justin's Uh custom pedal that he'll talk about when we get to it and then that shoots over to the radial and then comes back okay to the rat and to the EQ pedal and the great thing about this pedal board is is this is the second version of this giant pedal board and the great thing about being with tool is it's almost unlimited space for the backline Department to have as big as you want so if Justin wants this layout we can have a massive pedal board and it doesn't you know you know we're not in a van we're in semi-rs and in arenas or stadiums and but what we did do this time around was so Justin can get this in his car I made it so it detaches in the middle and we can split it and he can take it for sessions and all sorts of things and we have two individual cases for it and uh also uh EBS just sent us a whole bunch of great cables these are the gold uh tipped ones they're flat and there was a noticeable difference in the sound and of improvement and stuff so shout out to EBS what are we using for instrument cables instrument cables this the Mami yeah you know top of the line it's fantastic as well but shout out to the EBS guys we just to mention the using the cable it's not something is very common these days everyone's Wireless but we've done a lot of experimenting with wireless packs just literally aing it standing there in in the studio and the difference is huge really yeah you know there's the spike in the level Clarity um so we just stuck with it because it gives it that little extra kind of you know bit of detail to the whole band ADAM does the same thing so Pete what keeps you up at night with the rig this I don't want to say complicated but there's a lot going on what what keeps you up and night gives you nightmares there's certain cities in the world that I know when we go to there's radio stations that are broadcasting at a high uh ampage out and we've got one giant antenna here so radio frequencies popping up on the pedal in the rig somewhere keeps me up at night and there's ways to eliminate that road tricks and stuff and do you can you care to divulge or what do you do we uh I asked the boss to buy a brand new wild base and that eliminated it cuz the old base sounded amazing but it did pick up a lot of our RF even though we were trying to figure out new things so thank you for buying a new base you're welcome and then the next thing is is the boss uh I think it's the sound noise supressor noise suppressor peddle I'll I can engage that it's not in the loop permanently but in between songs if we're picking up a perfect song by name a big band in between songs I'll hit that and it gets rid of it that way the band isn't like what's going on and then when they're play it's hard to overpower tool with a radio frequency absolutely one last question what's going on with the uh the special shielding we got with the the boss pedal here the base equalizer or the the boss equalizer talking about the yeah ah so as you see it's got open slots on top and like we do festivals it can be rain it's all types of weather we're exposed and so it's just to stop the rain from going in there and the dust and it keeps it going it's been there since I started and Justin's had a lot of great TX work for him over the years so if it's working I leave it in place and that never changes that's the the set EQ for the dirty cab so the slight smile EQ yeah exactly never fails Justin let's start this party off tell me about your pedals and how are you using them man well this is volume right here and once we got that up um we can go down the line tremolo right here [Music] that one's lovely got a tube in it it's really warm uh it's gatone and then of course my trusted whammy [Music] pedal so I don't want to Discount the the the signature waffas that we'll get to in a minute but would you say the the B uh whammy is kind of your most crucial pedal based on like you need that to pull it off I would say it really helps me do stuff that um Isn't So base orientated some of the lead stuff I I do when Adam holds down the Rhythm and lets me go above it uh you know like something like the M middle of schism so [Music] like [Music] that's bypass right there so that's actually the way I get out of that situation I've got every pedal on I can hit this and it bypasses all my effect pedals oh all right so I bypass it and then over the next verse I can turn everything off and then get back again to my original sound get out of jail c yeah you can hear the difference this is like a little static with all the pedals and then that's a little quieter cuz it's bypassing them all but but um uh yeah then the sounds amp is just an original it's a distortion it doesn't sound uh it hasn't got so much low end but it's really nice for some of that higher stuff and some feedback um and a lot of the the my sound is just the order in which the pedals come um it's almost like a keyboard you know the order in which you put the modules together each affects each other differently so I just so used to it that it's got I can play with it it's like a keyboard if I you know mess over here I know how it affects this and this it's self aware yeah well it's got yeah um and then uh you know the boss pedals classic chorus flanger delay pedal is one of my really you know good friends um again you can see the classic um bit of white tape with all my different marks spare no expense for toour you know through the show I'm moving that by hand just nailing you know different little ladders there that that'll be flooded you know that'll be the grudge um and yeah it's got a little there's a little variation you know but it's close enough um how are you using that different than the Providence delay well okay so the Providence is uh specifically we started using that for uh the song numa okay where the guitar and the the bass we wanted them to just completely syn up the delay so if you we got it on here is [Music] I've experienced that before being one of those like you know nobody's out there I've felt that um it's cool as well it's got two settings so halfway through when we were recording we realized at the third verse I think Danny introduces the tbla sound and it always kind of sped up a bit but we liked it so we decided that at that point we go from 113 we go from 13 to 115 which is hardly noticeable but it's a little bit faster so the pedal keep kind so we decided to lock in with with Danny's natural flow and now we that's what we do every night so and with that pedal it's always exactly the same for both of us and the the Step Up is the same as well nice yeah um and then here we've got the gone it's like an auto which is cool it's like an envelope that opens and closes depending on how how hard you hit it probably know that from The Grudge recognized a lot of these Adam gave me that I think in Japan and I just fell in love with it um and I've used it on a few records so that's always you know that's that's pretty much in there this is um um God what's the name of the make gameer Game Changer again um it's a sustained pedal like on a piano um I don't use it very much on this tour but I've used it on a few songs but you you can kind of grab something when you're moving [Music] out which is you can get some interesting effects depending on where you apply it during the movement of your hand so that's kind of fun um and also it's it's you know it's quite a unique pedal something that does something different so I was like I've got a slot there I'm going to put something interesting in there and then uh you know the mother right [Music] [Applause] here [Music] and as you see there I this is my uh signature W pad it's in camouflage cuz I expected it to be blue you have the blue one PE so um yeah Jimmy donlot made a couple of these especially for me in this kind of rusty truck finish um which there are only four of which is very nice to have my own special ones um here's the original blue one uh which is you know anyone else can get um but yeah I was going to say the one of the features is that I put the the um onoff switch of the Distortion down the bottom there so I can actually kind of use use my heel so I don't have to go all the way to the top to to activate something um oh I see yeah yeah you know what I mean and it's it's got this little extension on it so it's almost the same level um do you know what the fuzz circuits is that based on kind of your I know that for a while you had the fox stone no no it's more the the color sound tone Bender the tone Bender vintage stuff like that or like a big muff you know we had like everything lined up and we went through everything and listened to them all and we're like What do you like and we just kind of you know did a blend of that stuff um and the two filter settings what what are those kind of going after so the um this is a basic huaa is a more of a traditional WWA okay a on the top and then the bottom one is we called it the UK filter um and it's basically a filter Suite kind of based on this sound from the if I roll all the EQ off this pickup and then add it on this one it kind of goes from the one to the other [Music] you so we kind of B it on that try to imitate that a little bit so [Music] it's I'd have to do it with [Music] my that was the S inspiration was that um but we added a little there's a little uh dip in the frequency with that one it's a lot more throaty and and warmer than the traditional W okay so when you hear it you can kind of hear um the other one is it's much higher perhaps for more like higher higher lead stuff um kind of like Cliff Burton when he you know [Music] right can hear it kind of dips when it engages and then yeah get a little more on on the lower scale I'm when we're done with this interview I'm going to check my pants after that F Well it is brown that's where made the brown one for the brown KN I guess I think the two that we haven't hit so far real quick Justin is the the rat and the EQ yeah so the rat and EQ uh after everything goes through my base through this goes to the radial then it comes back and one of them goes back through the rat in the EQ to the dirty cabinet okay so basically pedals go all the way through this and through that so when it's completely clean the dirt the the one cabinet still has a little bit of dirt the EQ brings back some low um so yeah that's uh that's that's always on those two okay and then this is just a little this is for the end of numer which again we realize gets a little exciting at the end every time so the tempo was consistently a little faster on the very last chorus yeah and we're like well instead of messing around with this only has two settings so we were like let's just check another delay in there that's always on that on that uh so that's specific ly for the end of Numa okay um rather than me having to mess with this one or that one or change anything else around so I I can't begin to thank you guys enough how much this means to me means to the viewers this is huge and uh before we leave I got to give Pete a shout out this is one of the cleanest pedals we've seen but I think it looks messy and stuff cuz we squ we you know it started off big and you got loads of space and then you squish in squish stuff in so thank you for the shout out but it's still a process of cleaning it up and making it look good again Pete and thank you guys so much huge fans and thank you guys out there for staying tuned and uh we knew we'd bring it to you one of these days we got you Chris Keys Rig Rundown Che is I've had if we counted them probably seven bad derario strings in 30 years the reason we only St diodio strings is because diodio strings are perfect it's nice to be able to depend on [Music] something

Channel: Premier Guitar

Views: 421,553

Keywords: guitar, guitars, guitarist, demo, guitar player, tone, electric guitar, fender, fender guitar, gibson, gibson guitar, gibson les paul, rig, guitar gear, pedalboard, pedals, guitar effects, guitar pedals, premier guitar, tool, tool music, aenima, lateralus, 10000 days, justin chancellor, tool gear, adam jones gear, justin chancellor gear, justin chancellor bass, justin chancellor rig, rig rundown, rig rundowns, metal, heavy metal, wal bass, bass guitar, bass, bass player, bass rig

Id: OlbvMpq4C64

Length: 40min 51sec (2451 seconds)

Published: Wed Feb 21 2024