
One of the most mysterious and interesting guitarists to come out of the post-grunge scene is a master of dynamics, tone, and deceptive rhythms.
Advanced
Intermediate
- Explore the sound of the Phrygian dominant scale.
- Learn how to combine odd-meter signatures.
- Use open strings to create hypnotic, droning riffs.
Formed in 1990, Tool is still considered to be one of the premier progressive rock bands of the era. While guitarist Adam Jones' playing is firmly rooted in the progressive idiom, he doesn't hesitate to draw on elements of grunge and even stoner rock, and the groove-based style of drummer Danny Carey and rock-solid timing of bassist Justin Chancellor results in heavy hypnotic riffs with constant shifting time signatures and exciting changes in dynamics. In this lesson, we'll touch on some of the topics from previous lessons and dig into exactly how Adam Jones makes somewhat difficult riffs and concepts groove so easily.
In Ex. 1, we take some ideas from our polymeters lesson for a hip single-string riff in dropped-D tuning. Each measure follows a 7-7-2 grouping to give the riff an odd-time feel without actually leaving 4/4. Not too much thought went into the note choices here, but in essence it's using notes from the D Phrygian dominant scale (D–Eb–F#–G–A–Bb–C).
Ex. 1
Ex. 2 uses notes of the D Phrygian mode (D–Eb–F–G–A–Bb–C), mostly against the low open D. To execute this cleanly, use the tip of the fretting-hand first finger to mute the 5th string. This allows you to strum the low three strings and get an aggressive sound. The riff is a repeating idea in 5/4, so spend some time listening and counting along before trying to play the idea. Also, for the sliding power chords at the end, I slide up on the third finger, and down on the first. This feels comfortable, but the jump back to the start of the riff will still be tricky, so heads-up!
Ex. 2
Our next riff (Ex. 3) takes inspiration from one of Tool's most famous jams, and is a fun little idea that alternates between 5/8 and 7/8. Tool are no strangers to multiple time signature changes like this, and there are songs of theirs where I still can't work out what the time signatures change between as they're so frequent and well masked by the groove. This idea could be seen as an eighth-note motif with a 16-note triplet played as an informal turnaround. In the first measure, it's a four-note idea, and in the second this is extended to six notes. This sounds very unexpected the first time you hear it, but after a few plays you'll get in the groove.
Ex. 3
In the next few examples, we'll explore how Adam layers different rhythmic parts on top of each other. Our first piece is Ex. 4, which also hovers around the D Phrygian dominant scale we touched on earlier. The minor third between Eb and F# gives this scale its distinctive sound. Also, you might have noticed how the open string creates an almost drone-like quality. That's another signature part of Tool's music.
Ex. 4
Now, we create a simple melodic idea to go over what we played in Ex. 4. As you can see in Ex. 5, the Gtr. 2 part is our low-end riff and Gtr. 1 is a rather syncopated riff that combines eighth- and 16th-note patterns. Especially prevalent in Danny Carey's drumming, these complex rhythms are at the core of the band's ethos.
Ex. 5
Ex. 6 uses bigger chord voicings to get a huge sound. In essence, a big D5 chord is played over five strings, and then one note is changed (Bb) on the 3rd string to create a moving inner voice. As in previous examples, the sound has a lot more to do with the driving rhythm than the notes being played.
Ex. 6
Not all the band's riffs are based around thick, saturated distortion. In Ex. 7 we use a clean tone with some effects to create a moody riff in 5/8. You want to let the notes ring out as much as possible, so be careful with your finger placement as the bass notes start moving from D to F, and finally to G. In terms of sonics, I've put different delays on the left and right channel, plus a phaser on one side and a flanger on the other. The concept here is to create a richly textured part that could support a vocalist.
Ex. 7
The final example (Ex. 8) mixes arpeggiated notes with bigger chord stabs for some drama. I made sure everything rang out because this gives the biggest sound and is perfect for a full-band setting. The idea is based around D minor, but the Ab (b5) adds a darker, bluesy sound.
Ex. 8
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PG contributor Tom Butwin reveals his favorite songwriting secret weapon: the partial capo. Watch how the Shubb C7 and C8 can simulate alternate tunings without retuning your guitar—and spark fresh creative ideas instantly.
Shubb C8b Partial Capo for Drop-D Tuning - Brass
The C8 covers five of the six strings, leaving either the low E or high E string open, depending on how it's positioned.
- Standard setup: Placed on the 2nd fret while leaving the low E string open, it simulates Drop D-style sounds—except you're still in standard tuning (key of E). You get that big, droning bass feel without retuning.
- Reverse setup: Flipping the capo allows the high E string to ring, giving you shimmering drones and new melodic options across familiar chord shapes.
- A flexible tool that lets you simulate alternate tunings and create rich sonic textures—all while keeping your guitar in standard tuning.
Shubb C7b Partial Capo for DADGAD Tuning - Brass
The C7 covers three of the six strings—either D, G, and B or A, D, and G—depending on how it's flipped.
- Typical setup (D, G, B): Creates an open A chord shape at the 2nd fret without needing your fingers. This frees you up for new voicings and droning notes in the key of A.
- Reversed setup (A, D, G): Gets you close to a DADGAD-style tuning vibe, but still keeps you in standard tuning—great for modal, spacious textures often found in folk or cinematic guitar parts.
Use it alone or stack it with the C8 for wild, layered effects and truly out-of-the-box inspiration.
The Future Impact V4 is an incredibly versatile pedal with an exceptional range of sounds. In addition to producing synthesizer sounds such as basses, leads and pads, it can function as an octaver, chorus, flanger, phaser, distortion, envelope filter, traditional wah-wah, tremolo, reverb, etc., and even has a built-in tuner. It can potentially replace an entire pedalboard of dedicated single-effect pedals.
The very powerful signal processor of the Future Impact V4 is able to replicate the various oscillator, filter, amplifier and envelope generator blocks found in classic synthesizers. In addition, it contains signal processing blocks more traditionally used for processing the sound of an instrument such as a harmonizer block and audio effects such as chorus, distortion and EQ. These architectures complement each other in a very flexible way.
Setting the standard for the bass guitar synth pedals since 2015, together with an enthusiastic community and long line of great artists, the Future Impact V4 is the guitar synth platform for the next decade.
Belltone Guitars has partnered Brickhouse Toneworks to create a one-of-a-kind, truly noiseless Strat/Tele-tone pickup in a standard Filter’Tron size format: the Single-Bell pickup.
The Single-Bell by Brickhouse Toneworks delivers bonafide single-coil Strat and Tele tones with the power of a P-90 and no 60-cycle hum. Unlike typical stacked hum-cancelling designs, Brickhouse Toneworks uses a proprietary ‘sidewind’ approach that cancels the 60-cycle hum without sacrificing any of the dynamics or top-end sparkle of a Fender-style single coil.
Get the best of both worlds with clear bell-like tones on the neck pickup, signature quack when combining the neck and bridge pickups, and pristine twang in the bridge position backed with the fullness and power of a P-90. Push these into overdrive and experience the hallmark blues tone with plenty of grit and harmonic sustain — all with completely noiseless performance.
Key Features of the Single-Bell:
- Cast Alnico 5 Magnet, designed to be used with 500k pots
- Voiced to capture that signature Fender-style single coil tone without the 60-cycle hum
- Lightly potted to minimize squeal
- Made in the USA with premium quality materials
The retail price for a Bridge and Neck matching set is $340.00 and they’re available directly and exclusively through Belltone® Guitars / Brickhouse Toneworks at belltoneguitars.com.
Designed for players who demand flexibility without sacrificing tone, the Aquanaut fuses the rich warmth of classic analog delay with the extended range and clarity of modern digital designs. Featuring up to 600 milliseconds of delay time, the Aquanaut easily covers everything from tight slapback echoes to lush, ambient textures and rhythmic soundscapes – all with a simple, intuitive control layout.
Unlike many digital delays that can sound sterile and detached, the Aquanaut retains an organic, analog-inspired voice. Repeats are smooth and musical, gently fading into the mix to create depth and dimension without overwhelming your dry signal. Whether you’re chasing vintage tape echo, adding subtle space to your solos, or building massive atmospheric layers, the Aquanaut keeps your tone clear, present, and inspiring.
Berserker Electronics Aquanaut Delay/Echo
Key features include:
- Up to 600ms of delay time for expanded creative possibilities
- Analog-voiced digital architecture for warm, natural-sounding repeats
- Ambient-style echo that enhances, not distracts from, your core tone
- Simple, intuitive controls for delay time, feedback, and blend
The Aquanaut is available direct at www.berserkerpedals.com and Reverb at a $149 street price.