No. 1251993·progressive-metal·4 blocks
Sober
Tool's breakthrough single, built entirely on dynamics — a brooding, restrained Drop-D verse that detonates into a crushing chorus. On Undertow (1993) Adam Jones cut it on his 1979 Les Paul Custom Silverburst into his modified mid-'70s Marshall Super Bass 100, the two channels jumpered together for an aggressive, saturated voice. This predates his Diezel multi-amp rig (which arrived on the later records). The quiet-to-loud swing is in the right hand and the guitar volume, not a pedal: a Plexi-family Marshall pushed hard, cleaning up when he eases off and roaring when he digs in.
UndertowSignal path · input → output · 4 blocksLive values · Boss Katana
Guitar
Gibson Les Paul Custom (1979 Silverburst)
Pickups
HH
Tuning
bridge
Strings
drop_d
Noise Gate
Crunch
Reverb
Noise Gate
← Studio noise gate (FRFR essential)
Threshold
56dB
Release
30s
Level
0
Crunch
← Marshall Super Bass 100 (jumpered)
Gain
70
Volume
60
Bass
50
Middle
70
Treble
70
Presence
60
Master
60
Reverb
← Light studio ambience
Time
1ms
PreDelay
15ms
Tone
5
EffectLevel
8
Engineer's note
File 125
Tool's breakthrough single, built entirely on dynamics — a brooding, restrained Drop-D verse that detonates into a crushing chorus. On Undertow (1993) Adam Jones cut it on his 1979 Les Paul Custom Silverburst into his modified mid-'70s Marshall Super Bass 100, the two channels jumpered together for an aggressive, saturated voice. This predates his Diezel multi-amp rig (which arrived on the later records). The quiet-to-loud swing is in the right hand and the guitar volume, not a pedal: a Plexi-family Marshall pushed hard, cleaning up when he eases off and roaring when he digs in.
— Adam Jones
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