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Killing in the name of rage against the machine — Unknown Artist1 / 2
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GuitarDistortedSolo80% 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
Pickups
Fender single-coil (stock Telecaster neck pickup)
Amp
Marshall JCM800 2205 50-watt head with Marshall 1960A 4x12 cabinet
Pickup Position
Neck pickup

Studio recording, 1991-1992. Used exclusively for drop D songs including 'Killing in the Name' solo. Guitar always on neck pickup, bridge pickup volume set to zero for kill-switch effect. No evidence of alternate guitars or amps for the solo section.

Amp Settings

Mids
6.5
Bass
6
Gain
7
Reverb
0.5
Treble
7
Presence
6

Effects Chain

  • DigiTech Whammy WH-1 · modulation
  • Boss DD-2 Digital Delay · delay

Telecaster (neck pickup, volume/tone on 10) → DigiTech Whammy WH-1 → Boss DD-2 Digital Delay → Marshall JCM800 2205 head → Marshall 1960A 4x12 cabinet

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Tone Character

  • aggressive and saturated
  • warm neck pickup fullness
  • tight and percussive attack
  • pronounced octave jumps
  • minimal ambience (very dry)
  • crisp note separation
  • modern, processed solo sound
  • dynamic pick attack
  • slightly compressed
  • cutting midrange presence

Notes & Caveats

  • ⚠️No official amp knob settings published for this specific solo; values estimated based on typical Marshall JCM800 settings for 1990s rock and forum consensus.
  • ⚠️No evidence of reverb used on amp or in pedal chain; solo is notably dry.
  • ⚠️All sources confirm DigiTech Whammy and Boss DD-2 Delay for solo, but no exact pedal knob settings found.
  • ⚠️No evidence of additional modulation or time-based effects (chorus, flanger, phaser) in the solo section.
  • ⚠️All sources confirm neck pickup only; bridge pickup volume set to zero for kill-switch effect.
  • ⚠️Signal chain and pedal order inferred from multiple rig rundowns and interviews; no direct studio session documentation available.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Tom Morello's solo tone on 'Killing in the Name' is high gain but not extreme, with tight bass, forward mids, and crisp treble for articulation. Presence is set for clarity, and reverb is minimal, matching the dry, aggressive 90s alt-metal production.

Sources