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 · 6 blocksLive values · Pedalboard
Guitar
Gibson Les Paul Custom (1979 Silverburst)
Pickups
HH
Tuning
bridge
Strings
drop_c
MXR M-133 Micro Amp
Diezel VH4 (Channel 3)
Marshall Super Bass 100 (blended)
Mesa/Boogie 4x12 (Celestion V30)
Shure SM57 + Sennheiser MD421
MXR M-133 Micro Amp
boost
Gain
4
Diezel VH4 (Channel 3)
preamp
Gain
7
Bass
8
Middle
10
Treble
5
Presence
6
Master
6
Marshall Super Bass 100 (blended)
preamp
Presence
6
Bass
4
Middle
7
Treble
7
Volume
7
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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