TonesMatch
Killing in the name of rage against the machine — Unknown Artist1 / 2
Original RigYour Adaptation
GuitarDistortedRiff80% confidence

Killing in the name of rage against the machine Guitar Tone Settings

Unknown Artist · 1990s · rock

studio

Original Recording

Guitar
1982 Fender American Telecaster (black, with stickers, stock pickups, drop D tuning)
Pickups
Fender single-coil (stock Telecaster neck pickup, always used for this riff)
Amp
Marshall JCM800 2205 head with Peavey 4x12 cabinet
Pickup Position
Neck pickup

Studio recording, 1991-1992, Rage Against the Machine debut album. Guitar is always in neck pickup position for all drop D songs including 'Killing in the Name'. No evidence of alternate guitars or amps for this section. No evidence of effects loop or amp-based effects used.

Amp Settings

Mids
6.5
Bass
6
Gain
7.5
Reverb
0
Treble
7
Presence
6

Tone Matcher

Match This Tone to Your Gear

Tell us your guitar and amp — we’ll calculate the exact settings translated to your specific rig.

Adapt to MY Gear →

7-day free trial · Cancel anytime.

Tone Character

  • warm neck pickup tone
  • tight and percussive attack
  • punchy, mid-forward sound
  • raw, unprocessed distortion
  • aggressive and dynamic
  • British crunch
  • articulate note separation
  • minimal effects coloration
  • singing sustain
  • heavy, driving riff

Notes & Caveats

  • ⚠️No specific numeric amp settings found in sources; values estimated based on typical Marshall JCM800 settings for 1990s rock/metal and genre/era conventions.
  • ⚠️No evidence of reverb or modulation effects in the riff section; distortion is from amp, not pedal.
  • ⚠️Pedalboard includes DigiTech Whammy and Boss DD-2 Delay, but these are not used in the main riff section—only in solos or special effects.
  • ⚠️All sources confirm neck pickup only for this riff; no alternate pickup positions.
  • ⚠️No evidence of effects loop or amp-based effects used in the studio recording.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Tom Morello's tone on 'Killing in the Name' is high-gain but not ultra-saturated, with punchy mids, tight but not boomy bass, and a cutting yet not harsh top end. The recording is dry with no audible reverb, and the settings reflect typical Marshall JCM800 usage for aggressive, articulate riffing.

Sources