Allow me to approach from the other direction, 10000 hours of practice can also make you only a guy at the party yesterday who can do cool tricks with sticks if you practice wrong stuff.
Practice makes perfect is missing the word smart at the beginning. Let say you have practiced signle stroke roll for 10000 hours. You would be amazing of course but imagine after 10010 hours somebody came and told you to play single strokes with every other seventh stroke is accented. You better be ready for that otherwise you would be very disappointed.
Practicing smart is a very difficult art. You can pick up the left foot clave thingy from Horacio Hernandez and devote your year on it but you would be only able to play the clave. You wouldn't be incorporating any of it to your playing. So picking up a relatively tough thing is not the smartest way. However, using a syncopation book and practicing every possible hand foot permutations would get you very far away. Because most of the tough stuff is comprised of small chunks that you would be practicing via syncopation exercises.
I would suggest divide your time into parts with different emphasis;
- Playing grooves that requires stick control, 5-stroke roll, doubles, paradiddles etc.
- Playing grooves that requires independence, either polyrhythms 3 on left hand playing 4 on the right and counting with foot etc. or ostinato based, playing off beats on hi-hat where you try to play super-straightforward blues ride pattern, but your feet are playing a different melody
- Playing grooves that requires dynamics, samba with accented kick on ones, techno-like rhythms which requires a mild hi-hat chick, very silent ghosts and quite accented kick and snare.
- Muscle exercises with one limb at a time, watch or record yourself playing anything and see what you might be doing different and where it starts lagging. Watching the greats and learning about things like Moeller technique, heel-up/down playing etc. helps you to orient yourself.
- Time practice. This is amazingly difficult to master but 10000 hours would make it perfect. Try to keep the time without a metronome and record yourself. You would be amazed how strange it gets even when you feel that you are on top of your game.
Skipping a month or two sometimes even help and mostly doesn't do that much harm. You can get back to it within a week if you are serious about practicing.
So what is the way to start from absolute zero? That's a question nobody ever answered properly. Because everybody has a different route to arrive at mid-level playing.
First thing you need to get comfortable with is what it is that you are providing. Initially, your main job is to provide a solid sound pattern that makes people comfortable in terms of consistency. That can very well be a snare beat where you just do it twice every second. As long as you can divide a second in your head into two and execute the two strokes per second you are done.
However, different musical setting requires different tempos. Hence you change your frequency such that you play three notes every two seconds. That's trickier to think arithmetically but easier to play if you just listen.
Over time we arrived to a convention that answers if I play a steady thing like that a minute long, how many beats do you want me to play?. That's the bpm (beats per minute) unit. It is really not that scientific in practice. 60-70 is slow, 100-120 mid etc.
Long story short, tempo tells you roughly how much a beat would last. But communicating with other musicians is difficult if you keep the beat lingo. So we came up with another system that would tell how many beats does it take to play a pattern if we are to repeat a guitar riff, say,
I love that bass intro groove by the way :) So, here the bass groove repeats itself every 8 beats. But you can also count it as 16 beats if you count the hi-hat chicks. It's a matter of mutual agreement. Believe me it's not confusing it's just a choice. When you want to tell someone about this beat you would say well it's a 16 beat pattern or 4 beat or 1 beat. Up to you how you set it up. Once you know what this means, you can dive into how we name long notes that lasts two beats or half a beat for faster stuff.
We use powers of two, a fourth note is 1/4 and is usually one beat (in western 4/4 music), a sixteenth note is 1/16 and it is a quarter of the beat. Why this complication? Well it's historical and conservative people. There are much clearer systems you can come up with but I digress.
To conclude this super brief intro, just download some free beat generators and try to come up with drum patterns. That would tell you what note values and durations mean in tabs by comparing what you created and how you would write it.