No. 1262006·progressive-metal·5 blocks
The Pot
The 10,000 Days single built on a syncopated, vocal-led groove and one of Tool's heaviest single-note riffs. Adam Jones cut it on his 1979 Les Paul Custom Silverburst tuned to Drop C — lower than his usual Drop D, which he said made it easier for Maynard to sing — into his multi-amp wall. Producer Joe Barresi split the guitar into a Diezel VH4 for bottom and gain, a modified Marshall Super Bass for upper-mid grind, and a third blended track, all through Mesa 4x12s. The weight is the low tuning, the amp blend, and Jones' slow, deliberate picking — almost no gain stacking.
10,000 DaysSignal path · input → output · 7 blocksLive values · Fractal Axe-Fx
Guitar
Gibson Les Paul Custom (1979 Silverburst)
Pickups
HH
Tuning
bridge
Strings
drop_c
Gate
Studio Comp
Das Benzin Lead
4x12 Recto V30
Room
Filter Tilt
Gate
← Studio noise gate
Threshold
-52dB
Release
0.3s
Studio Comp
← Light studio compression
Threshold
-32dB
Ratio
2:1
Attack
38s
Release
200s
Mix
0.4
Level
0dB
Das Benzin Lead
← Diezel VH4 (Channel 3) + Marshall Super Bass blend
Drive
7
Bass
8
Mid
9
Treble
5
Presence
6
MV
6
Cut
4
4x12 Recto V30
← Mesa/Boogie 4x12 (Celestion V30)
LowCut85Hz
HighCut8500Hz
Level
0dB
Room
← Studio room ambience
Mix
0.1
Decay
0.6s
Predelay
0.0ms
Filter Tilt
← Tilt EQ (global brightness)
Tilt
0.5
CenterFreq
1000Hz
Level
0
Engineer's note
File 126
The 10,000 Days single built on a syncopated, vocal-led groove and one of Tool's heaviest single-note riffs. Adam Jones cut it on his 1979 Les Paul Custom Silverburst tuned to Drop C — lower than his usual Drop D, which he said made it easier for Maynard to sing — into his multi-amp wall. Producer Joe Barresi split the guitar into a Diezel VH4 for bottom and gain, a modified Marshall Super Bass for upper-mid grind, and a third blended track, all through Mesa 4x12s. The weight is the low tuning, the amp blend, and Jones' slow, deliberate picking — almost no gain stacking.
— Adam Jones
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