[Tom Morello] How to Recreate the Rage Against The Machine Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Tom Morello is a unique figure in the world of guitar, best known as the guitarist for Rage Against The Machine (RATM). His sound transcends traditional rock guitar, incorporating elements reminiscent of DJ scratching and synthesizers, all achieved with just one guitar. Iconic tracks like “Bulls on Parade” and “Killing in the Name” showcase his use of wah and flanger effects, while his beautiful arpeggios in “Like a Stone” (Audioslave) have left a lasting impact on many guitarists.

At the core of his playing style is the frequent use of pickup selectors and toggle switches, bold pitch shifts with a whammy pedal, and a rhythmic scratching technique with his right hand. This approach is not merely a gear-centric obsession; it is deeply rooted in his philosophy of bringing new expressions into rock music.

Morello’s rig is relatively simple, primarily consisting of a Marshall JCM800 and a Peavey cabinet, yet he creates a remarkably diverse range of sounds through his choice and combination of guitars and effects. As a result, he continues to present a hybrid sound that crosses genres like funk, hip-hop, metal, and punk.

Understanding Tom Morello’s sound design goes beyond merely acquiring the same gear; it is about learning how to use sound and develop playing ideas. By emulating his sound approach, guitarists can significantly expand their own expressive capabilities.

▶ Search official YouTube videos of Rage Against The Machine

List of Amplifiers and Features

The foundation of Tom Morello’s sound is surprisingly simple, relying on a straightforward amplifier setup. Since the debut of Rage Against The Machine, his main amplifier has been the Marshall JCM800 2205 (50W), with settings that remain largely unchanged.

His typical settings include Presence at 7, Bass and Mid at 10, Treble at 7, and Gain at 9, allowing for a wide range of tones from clean to high-gain. This setup creates a robust sound that Morello further shapes with his pedals and guitar.

The cabinet he commonly uses is the Peavey 4×12 (with Celestion G12K-85 speakers), which is known for its tight low-end and crisp highs, making it ideal for pushing Morello’s aggressive yet clear riffs to the forefront.

Interestingly, Morello rarely alters his amp settings during live performances, instead relying on his guitar and effects to modify his tone. This contrast between a “fixed core sound” and “variable effects processing” is central to his sound design.

Additionally, he has been seen using a VOX AC30 and a Line 6 Flextone Combo as secondary options, though these are believed to be used for specific songs or experimental studio work. The AC30 is known for its pronounced clean tones, potentially used for acoustic or clean performances during his time with Nightwatchman. The Line 6 Flextone, a modeling combo, has been reported to be used during rehearsals or home sessions.

Overall, Morello’s choice of amplifiers emphasizes stability and reliability without being overly extravagant. His main amp and cabinet combination remains consistent, while his use of guitars and effects allows him to create a sound that resembles a synthesizer or DJ, showcasing a remarkable versatility. This suggests that his amplifier setup, while simple, is meticulously crafted to maintain a “core sound” that does not compromise.

Types of Guitars Used and Features

Tom Morello’s sound is defined by a collection of custom and uniquely modified guitars. He does not simply use off-the-shelf models; instead, he incorporates unique wiring and pickup configurations to achieve his distinctive sound. Notably, the “Arm the Homeless” guitar is a signature piece from the early days of RATM to Audioslave, recognized for its striking blue-white body and the phrase “Arm the Homeless.” It features EMG 81/85 pickups, with a modification that gives the neck pickup a single-coil-like quality, allowing for DJ-like trick plays through a kill switch wiring.

During the Audioslave era, the Fender Stratocaster “Soul Power” became a primary instrument, featuring a black body, mirror pickguard, and aggressive specs with a Floyd Rose and locking nut, capable of handling everything from beautiful arpeggios in “Like a Stone” to powerful riffs. The Fender Telecaster “Sendero Luminoso” was specifically used for drop D tuning, playing a significant role in tracks like “Killing in the Name” and “Cochise.” Each of these guitars serves a specific purpose within his setlist.

For backup and special tunings during live performances, Morello has a diverse lineup that includes the James Trussart Steelcaster, Goya Rangemaster “Creamy”, Gibson Les Paul Standard (2002 Sunburst), and Ibanez Talman Custom. The Talman Custom, with its Kenyan flag-inspired paint job and unique pickup switching, exemplifies Morello’s approach of musically utilizing noise.

In his solo work under the Nightwatchman name, he primarily uses a nylon-string acoustic guitar named “Whatever It Takes,” which resonates with his protest songs in a simple yet powerful manner, showcasing a different side of his guitar playing compared to his RATM days.

Overall, Morello’s choice of guitars is not just about expanding tonal variety; it also serves as a part of his stage presence, imbued with political and cultural messages. Thus, his collection of guitars functions as both instruments and icons.

In summary, Tom Morello is a player who clearly distinguishes his guitars by purpose and expands expression through unique modifications. The individuality of each guitar, combined with his creative ideas, constructs a sound that is truly one-of-a-kind.

Effects and Pedalboard Setup

When discussing Tom Morello’s guitar tone, the most crucial aspect is his unique use of effects. With a simple setup of a Marshall JCM800 and Peavey cabinet, the majority of his sound variations come from his pedals. His pedalboard is relatively compact yet packed with functionality and creativity.

A standout effect is the Digitech WH-1 Whammy, which has become synonymous with Morello’s sound. This pitch-shifting pedal allows for two-octave shifts and fifth harmonies, creating iconic sounds in tracks like “Killing in the Name” and “Like a Stone.” The extreme pitch shifts combined with his scratching technique produce a tone reminiscent of a DJ.

Another essential pedal is the Dunlop GCB95 Cry Baby Wah. Morello uses this not only in traditional wah applications but also combines it with his scratching technique, treating it like a rhythmic instrument. The intro to “Bulls on Parade” exemplifies this approach. Additionally, modulation effects like the MXR Phase 90 and Ibanez DFL Flanger play significant roles, particularly in the intro of “Killing in the Name.”

Moreover, Morello employs two Boss DD-3 Digital Delay units, utilizing one for long delays and the other for short delays. This setup allows him to layer riffs and create spatial depth in his sound. The DOD FX40B Equalizer is used for boosting purposes, helping to increase volume during solos.

For special effects, the Digitech XP-300 Space Station is noteworthy, generating cosmic sounds and featuring an auto-whammy function (which Morello refers to as the “Megatron button”). The sci-fi tones heard in “Calm Like a Bomb” are attributed to this pedal. Additionally, the Boss TR-2 Tremolo is essential for creating rhythmic textures in “Guerrilla Radio.”

Other pedals like the MXR Distortion+ and Ibanez AD-9 Analog Delay are also integrated into his setup, allowing for necessary adjustments to his pedalboard as needed.

In recent years, he has released the MXR TBM-1 Tom Morello Power 50 Overdrive, designed to replicate his Marshall JCM800 tone. He actively incorporates new products like the MXR M306 Poly Blue Octave, continuously expanding his sound palette.

In summary, Morello’s pedalboard is characterized by its simplicity yet multifunctionality, driven by a mindset that breaks conventional guitar norms to create a unique sound. These pedals serve as tools to infinitely expand the capabilities of a simple amplifier setup through effects and creative ideas.

Tone Settings, EQ, and Mixing Approaches

Tom Morello’s sound design may initially seem reliant on the combination of amplifiers and pedals, but in reality, the use of EQ and mixing techniques plays a crucial role in shaping his tone. His sound is characterized not by extreme distortion but by an emphasis on clarity and attack.

Starting with the amp settings, the Marshall JCM800 2205 is typically set to Presence 7 / Bass 10 / Mid 10 / Treble 7 / Gain 9. This configuration maximizes the low and mid frequencies while keeping the treble balanced, resulting in a “heavy yet forward sound” that cuts through the mix, whether playing single-note riffs or chords.

On the guitar side, Morello frequently employs pickup switching and toggle switches for instantaneous on/off effects. For instance, in the riff of “Killing in the Name,” he uses flanger and phaser effects while manipulating the pickup selection to enhance the sound’s presence. In “Bulls on Parade,” he keeps the wah pedal partially open, incorporating scratching-like noise into the rhythm, creating a sense of “manipulating EQ at the fingertips.”

For delay, Morello uses two Boss DD-3 units, one for long delays to create spatial depth and the other for short delays or ping-pong echo effects, adding dimension to riffs and solos. His approach to spatial processing focuses on “clear reflections” rather than deep reverb. In the studio, he often pans the delay sound in stereo, while live performances utilize PA systems to create a wall of sound.

To boost volume during solos, he uses the DOD FX40B Equalizer as a booster, raising output without significantly altering the tone. Additionally, he layers the MXR Distortion+ to achieve a more bluesy and biting solo tone.

In terms of mixing, Morello tends to keep the guitar positioned centered in the mix, avoiding excessive widening to maintain a tight relationship with the rhythm section (bass and drums). This approach maximizes the impact of the simple arrangement of guitar, bass, drums, and vocals in RATM’s recordings, emphasizing a strong central presence. While some Audioslave recordings exhibit a broader mix, the core remains thick and present.

In summary, Tom Morello’s sound design is characterized by “a fixed amp setting as a foundation, with effects and switching to instantaneously alter sound,” “extreme emphasis on low and mid frequencies,” “delay-centric spatial processing,” and “a mix that supports the band’s overall power by keeping the guitar centered.” Essentially, his sound design embodies the principle of “using bold sounds while maintaining the core of the band sound.”

Affordable Alternatives to Recreate the Tone

Tom Morello’s gear includes many custom guitars and rare effects, making it challenging for beginners to replicate his exact setup. However, the key lies in the ability to create sounds that embody Morello’s ideas, and it is entirely possible to experience similar tones with relatively affordable gear. Here, we introduce products that can be obtained for around $100 to $500, offering high fidelity in recreating his sound.

To replicate Morello’s signature whammy sound, the original WH-1 is hard to find, but the Digitech Whammy Ricochet or the current Whammy 5 are excellent alternatives. Their pitch-shifting behavior is close enough to allow users to experience the essence of “Killing in the Name” and “Like a Stone” with octave jumps and fifth harmonies.

Next is the wah pedal. For those looking to try Morello’s scratching technique, the standard Dunlop Cry Baby GCB95 is more than capable of recreating his sound. Even using the wah as a fixed EQ filter can produce funky riffs characteristic of his style, making it a staple for beginners.

While the JCM800 is expensive, modeling amps like the BOSS KATANA series are effective alternatives. The KATANA-50 MkII is reasonably priced and can handle everything from clean to high-gain tones. By setting the EQ in a Morello-like manner, you can achieve a similar tone. Its versatility also makes it suitable for headphone practice and home recording.

For spatial effects, alternatives to Morello’s DD-3 include the Boss DD-8 or DD-7, which offer a wide range of delay times and allow switching between long and short delays to emphasize riffs. Additionally, for a substitute for the MXR Phase 90, the Electro-Harmonix Small Stone or BOSS’s PH-3 Phase Shifter are affordable and easily accessible, capable of creating swirling modulation.

Moreover, an equalizer for boosting is essential, so the budget-friendly BOSS GE-7 Equalizer is ideal. It not only increases volume but also allows for cutting unnecessary frequencies, helping to bring the guitar forward in the mix. This single unit is effective for enhancing presence during solos.

By combining these alternative pieces of gear, you can experience Morello’s approach of “using a fixed amp setting as a core and altering sound with pedals.” The key is not to gather identical gear but to embrace the mindset of “manipulating sound at your fingertips and switching character instantly.” By focusing on this, you can experience the powerful sounds reminiscent of RATM and Audioslave on a budget.

Summary and Conclusion

The essence of Tom Morello’s sound design lies not in an extensive collection of gear or excessive use of effects, but in the approach of maximizing limited equipment to extract new expressions. In practice, his setup consists of a Marshall JCM800 paired with a Peavey cabinet, which is quite simple, and his pedalboard is compact. However, the balance between the “fixed core” and “instantaneous changes” creates a unique sound.

Moreover, he treats his guitars as more than mere instruments. Guitars like “Arm the Homeless” and “Soul Power” serve not only as tools for sound but also as symbols of identity and messaging on stage. This aligns with RATM’s stance of conveying political and social messages, where the sound itself functions as a “voice of protest.”

To replicate Morello’s playing style, it is not necessary to invest in expensive custom gear. Instead, the focus should be on incorporating pickup switching and toggle operations into rhythm, using wah and whammy as filters, and elevating noise to a musical level. Thus, to imitate his sound design, attention should be directed towards the techniques and ideas behind it.

Even with accessible alternative gear (such as the Whammy Ricochet, Cry Baby, and BOSS KATANA), you can experience a sound reminiscent of Morello’s style. Throughout this process, contemplating “how to create your own sound” becomes the greatest takeaway from learning his style.

In conclusion, the characteristics of Tom Morello’s sound can be summarized in three key points:
1. A consistent foundation based on a simple amp and cabinet setup.
2. Bold and unique tonal variations achieved through effects.
3. Creativity that incorporates ideas into performance, transforming noise and tricks into music.
By understanding and integrating these elements into your playing, you can transcend mere imitation and embody the “Morello mindset.” Ultimately, what matters is not the gear itself, but how you utilize it, reflecting your artistic approach.