Listening to 10,000 days for the 1,000,000th time made me think - I wonder what trivia i can find on the album. A quick Google search “wiki tool 10,000 days” revealed the wiki page (dah!) and from there I found an amazing article by Jeff Forlenza on the making of Tools, 10,000 Days.
This is one amazing read, here are some extracts from the article
Tool is a dynamic band: intricate and intense, brutal and subtle. Each album is an aural adventure full of high-caliber musicianship, sick humor and sonic surprises. They create hard-edged, surreal portraits with driving polyrhythmic drums, deep churning basslines, dense guitar textures and passionate-bordering-on-deranged vocals interwoven with interesting sounds and effects. Obviously, they’re doing something right; the band has never been bigger.
Barresi tracked Carey’s extensive drum kit at the now-defunct O’Henry using the studio’s massive API console (more than 16 feet long!), which has 88 inputs fitted with enhanced API modules and traditional API-style 2520 amps. Barresi explains how he captured Carey’s kit: “I used a lot of close miking since he has such a large kit. I used three overheads: left, center and right. Then I filled in the other cymbals with spot microphones. The toms were all miked top and bottom. Kick and snare, pretty normal stuff. I had a couple of different stages of room mics: fairly close, middle of the room and then very distant. It was the kind of room where you could use the distant mics fairly loud without getting too much delay. What a beautiful-sounding studio!”
The album is loaded with electronic and acoustic percussion, all played live by Carey. “When I first showed up to their rehearsal,” Barresi explains. “I thought there were eight guys inside playing. I was like, ‘Who’s playing percussion in there?’ And it turns out that it’s all Dan. He has Mandala electronic pads that his friend Vince De Franco designed for him. He plays the Mandala pads, and they trigger sounds that he has sampled himself. It sounds like he has eight limbs.”
The final format was a 96k sampling rate, 24-bit-resolution master, which they downsampled to 44.1k, 16-bit. “If any record deserves to be heard in surround sound, it’s this one,” Ludwig says. “There’s so much tone painting and so much color. It would just be a thrill to hear it in surround sound. And with 96k, 24-bit masters, we’re ready for any kind of high-resolution digital projects.”
What I would give to be able to sit down and listen to this album on 96k, 24bit! Let’s hope we see a DTS DVD of 10,000 days the future!
This article is a must read for any tool, music or recording fan. check it out here
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