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 · 5 blocksLive values · Pedalboard
Guitar
Gibson Les Paul Custom (1979 Silverburst)
Pickups
HH
Tuning
bridge
Strings
drop_d
Studio compressor (light)
Marshall Super Bass 100 (modified, channels jumpered)
Marshall 4x12 (Celestion-loaded)
Shure SM57
Studio compressor (light)
compressor
Peak Reduction
20
Gain
5
Marshall Super Bass 100 (modified, channels jumpered)
preamp
Presence
6
Bass
5
Middle
7
Treble
7
Volume I
8
Volume II
6
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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