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Right In Two Riff Guitar Tone Settings — TOOL
TOOL · 2000s · metal
studio
Original Recording
Guitar
1978 Gibson Les Paul Custom Silverburst
Pickups
Seymour Duncan SH-4 JB (bridge humbucker)
Amp
Diezel VH4 (Channel 2 or 3, clean/edge settings likely for clean parts)
Pickup Position
Bridge pickup
Studio recording, 2005-2006. Adam Jones is known to use his Les Paul Custom with the Diezel VH4 for clean sections on 10,000 Days. No evidence of alternate guitars or amps for the clean riff in 'Right In Two'.
Amp Settings
Mids7
Bass6
Gain0
Reverb2
Treble6
Presence5.5
Effects Chain
- Delay pedal (model unknown) · delay
- Chorus pedal (model unknown) · chorus
Guitar → Delay pedal → Chorus pedal → Diezel VH4 (clean channel, with digital reverb)
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Tone Character
- glassy and pristine
- lush spatial ambience
- slightly compressed attack
- wide stereo image
- crystal-clear note separation
- warm but not muddy
- subtle modulation shimmer
- dynamic and touch-sensitive
- studio-polished clarity
- no audible drive or breakup
Notes & Caveats
- Gain adjusted to 0 for clean tone
- No direct source specifies the exact amp channel or settings for the clean riff in 'Right In Two'; settings estimated based on Adam Jones' known studio rig and typical Diezel VH4 clean settings.
- No explicit mention of effects used on the clean part in available sources; delay and reverb inferred as clearly audible in the recording.
- Pickup choice inferred from Adam Jones' typical use of bridge pickup for clarity, but neck pickup is possible for some clean passages.
- No pedalboard photos or interviews confirm modulation effects for this song; chorus is inferred from the subtle shimmer in the clean tone.
- Settings are estimated based on genre, era, and typical Diezel VH4 clean channel use.
- Settings cross-referenced with genre and era conventions for accuracy. Adam Jones typically uses a mid-forward, articulate crunch with moderate gain, tight bass, and restrained treble for TOOL's riff sections, especially on 10,000 Days. The tone is punchy and dry, with minimal reverb and a British-voiced midrange, matching his Diezel/Vintage Marshall rig and the song's production.