Bulls On Parade (Live In Mexico City, MX, 10/28/99) — Rage Against the Machine1 / 2
Original RigYour Adaptation
GuitarDistortedRiff80% confidence

Bulls On Parade (Live In Mexico City, MX, 10/28/99) Guitar Tone Settings

Rage Against the Machine · 1990s · rock

live

Original Recording

Guitar
Custom 'Arm The Homeless' Electric Guitar
Pickups
EMG H (bridge), EMG H (neck) - active humbuckers
Amp
Marshall JCM800 2205 50-Watt Head into Peavey 4x12 Cabinet
Pickup Position
Bridge pickup

Live performance, Mexico City, 10/28/99. Tom Morello's standard live rig for this era. No evidence of alternate guitars or amps for this song/section. Settings are estimated based on typical Morello live usage and genre/amp conventions for this setup.

Amp Settings

Mids
7
Bass
6
Gain
8
Reverb
0
Treble
7
Presence
6.5

Effects Chain

  • Dunlop Cry Baby Wah · wah
  • MXR M104 Distortion+ · distortion

Guitar → Dunlop Cry Baby Wah → MXR Distortion+ → Marshall JCM800 2205 → Peavey 4x12 Cabinet

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Tone Character

  • tight and percussive
  • aggressive wah-filtered attack
  • dry, minimal ambience
  • chunky, palm-muted rhythm
  • cutting, articulate highs
  • focused midrange
  • raw and powerful
  • dynamic response to picking
  • slightly compressed
  • distinct wah sweep

Notes & Caveats

  • ⚠️No direct numeric amp settings for this exact live performance found; settings estimated based on typical Marshall JCM800 usage for Morello in the 1990s and genre conventions.
  • ⚠️Pedal settings not specified in sources; wah is clearly audible and confirmed by multiple interviews.
  • ⚠️No evidence of delay, chorus, flanger, phaser, or reverb in the riff section; only wah and amp distortion are used.
  • ⚠️Pickup selection inferred from Morello's standard practice for this riff and the tone's characteristics.
  • ⚠️If more precise live settings surface, update accordingly.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Tom Morello's live 'Bulls On Parade' tone is high-gain but not extreme, with pronounced mids and a tight low end from his Marshall JCM800, no reverb, and a present, cutting sound that avoids harshness. These settings reflect his era-correct amp setup, genre conventions, and the focused, aggressive character of the riff tone.

Sources