As Tool embarks on their long-awaited Australian tour, fans across the country are gearing up for seismic nights. The underlying force that powers those cavernous sheets of sound is Justin Chancellor’s bass that doesn’t just underpin the music – it often leads it. Studying how Chancellor sculpts a tone that fills so much space can offer powerful lessons in layering, mix architecture, and the role of bass beyond merely low-end support.
Here’s how to deconstruct that mighty Tool bass from the studio up, and ways that you can do something similar, even with modest gear.
From Claypool to Wal: The Roots of Chancellor’s Sound
Chancellor inherited more than just a seat in Tool’s rhythm section. Early on, original bassist Paul D’Amour coached him in tone-shaping, octave effects, and creative pedal work – lessons that laid the foundation for Chancellor’s sonic identity.
Chancellor also drew inspiration from players like Les Claypool, admired for their use of wahs, chorus, and effects-laden bass work that push bass into melodic and textural roles rather than simply low-end support.
But inspiration alone doesn’t create the Tool low-end. For that, Chancellor turned to a very particular instrument: the British-made Wal bass. The Wal Mk II (and later Mk III) are known for mid-heavy, aggressive pickups and active preamps that emphasize midrange punch. That alone helps the bass cut through dense mixes, but the real secret lies in the rig.
The Three-Tier Multipath Bass: Clean, Dirty, DI
One of the essential reasons Tool’s bass can “rule the mix” is how Chancellor splits and blends multiple signal paths. Recording engineer Joe Barresi described how, on albums like 10,000 Days, bass tracks often combined cabinet micing with DI, using one amp for a clean tone, another for distortion, and a DI for clarity and direct low-end.
In practical terms, that three-path setup typically looks like this:
- Clean DI (direct input): Full, clear low end, great for sub-bass and harmonic fundamentals.
- Dirty / distorted amp: Compressed mid/upper mids, grit and bite that helps cut through guitars and drums.
- Cabinet-mic’d amp (or alternate amp): Adds body, warmth, and natural character, giving bass weight and space in the mix.
This multi-path approach gives engineers far more control over the final bass sound. It lets the bass occupy multiple roles simultaneously: rhythmic glue with the kick, harmonic leader, and textural presence.
Pick Attack, Midrange Focus, and Rhythmic Leadership
Chancellor further distinguishes his tone through playing technique. He often uses a pick, which gives his bass a sharper, more percussive attack compared to fingerstyle. Combined with the Wal’s naturally punchy midrange, this helps the bass slice through loud drums and heavy guitars.
He also approaches bass like a rhythm guitar – not just anchoring the root notes of chords, but driving harmonic motion. In many Tool songs, the bass line carries melodic and structural weight. On Schism (from Lateralus), the bass riff defines the song’s shifting meter and provides a foundation for the rest of the band to build on.
By keeping the midrange strong, the bass doesn’t compete with kick or subs – it occupies its own “pocket.” That mid-focused aggression gives the bass presence and authority, even when guitars and drums dominate typical rock mixes.
Modulation and Effects: Chorus, Flange, Delay – Subtle but Powerful
Chancellor’s bass sound isn’t purely direct or dirty. He often adds modulation and spatial effects (chorus, flange, delay) to give the bass movement, space, and otherworldly character. On Fear Inoculum, for example, he reported using delay and flange on several parts.
For songs like 46 & 2, Schism, or Jambi, this modulation becomes part of the bass’s identity: a sweeping flanger jet, a chorus’s subtle detune, or a delay’s echo that reverberates under shifting time signatures. Because the bass is already split into multiple paths, these effects can be assigned to just one path (e.g., a “textural” path), leaving the main DI or dirty tracks clean and stable.
This separation avoids muddying or killing the low end while allowing dramatic tonal shifts, perfect for progressive compositions and frequent rhythmic changes.
Phase, Drums, and Rhythmic Unity
Because the bass often locks tightly with kick drums and toms – particularly in polyrhythmic or odd-time contexts – attention to phase relationships is essential. The multipath system helps. You can align DI, amp, and cabinet signals precisely, and shape each path individually, so they all hit at just the right time. This ensures that the bass doesn’t smear or cancel out transient energy, allowing it to remain punching and articulate even in complex sections.
Chancellor himself has noted that part of his role in Tool is to “marry things together”, to be the glue between kick, guitars, and vocals.
Practical Tips for Audio Students: How to Build Your Own “Ruling Mix” Bass
Want to try something Tool-ish yourself? Here are some practical approaches you can take, even with limited gear:
- Use a split / DI + amp + cabinet chain: If you don’t have multiple amps, you can split your signal: DI to interface + an overdrive / amp emulator, and a second chain to a clean bass amp for clarity. This gives you clean and dirty layers to blend.
- Prioritise midrange and attack: Use a pick. Boost mids, cut extreme lows and “fizzy” high treble. Give the bass a punchy, aggressive voice that can cut through a dense mix.
- Add modulation selectively: Run chorus, flange, or delay on a separate path – not on the main DI or dirty channel. That way, you get texture without compromising clarity.
- Mind the phase: When combining DI, amp, and cabinet tracks, check phase relationships so transients from bass and kick stay tight. This is critical if bass and drums lock tightly rhythmically.
- Think like a bassist and a guitarist: Don’t just anchor the root note. Write bass parts that drive rhythm, define song structure, create harmonic movement. Use the bass not just for low-end power, but as a melodic and structural voice.
The Low-end Wrap-Up
Justin Chancellor’s bass is more than just low-end support – it’s a sonic foundation, harmonic driver, and rhythmic compass. Through a carefully curated rig, multipath signal chains, mid-heavy tone sculpting, and intelligent use of effects, Chancellor ensures his low end rules the mix without ever muddying the sonic picture.
For any aspiring engineer or bassist, exploring this philosophy is a challenging exercise, but supremely worthwhile. Approach bass production as an art of layers and space, and you might be surprised how much power lies in what’s below the surface.
