The opening salvo of Rage Against the Machine's debut, Bombtrack sets out the band's whole manifesto — Tom Morello's tight, syncopated riffing snapping between a menacing verse figure and a full-throttle chorus, all in that signature drop-D snarl.
What makes the tone. Morello's core sound is famously more controlled than it seems — a Marshall pushed to a tight, mid-forward crunch rather than a woolly high-gain wall. Drop-D tuning gives the riffs their low menace, and the palm-muted attack keeps everything percussive and funky. His Whammy pedal and toggle-switch tricks colour the noisier flourishes, but the riff itself is built on tight amp crunch and a sharp right hand.
The analogue recipe. Tune to drop D. A Marshall-style amp set to a tight, articulate crunch — mids up, gain moderate rather than extreme — with the guitar's bridge pickup. Palm-mute hard for the percussive snap. A Whammy pedal handles the dive-bomb and octave squeals; keep the core riff dry and punchy.
On a Boss GT-100 / GT-1000 / GX-100. A cranked Marshall model with moderate gain and forward mids, tuned thinking drop-D. Add a Whammy/pitch block for the effect flourishes and a touch of wah. Keep the low end tight so the muted riffing stays percussive rather than flabby.
On a Kemper. A tight, mid-heavy Marshall profile with controlled gain. A pitch/Whammy stomp covers the squeals and dives. The funk-metal snap is in the palm-muting and syncopation — play it tight and percussive.
Go further. More Rage Against the Machine tones in the Soulster Tonebook → — every song in it comes with key, capo, tempo, chord diagrams and dialled-in settings for Boss GT-1000, GX-100, GT-100 and Kemper.
See all 24 Rage Against the Machine prints →
Put it on the wall. The "Bombtrack" Film Noir print →, the "Bombtrack" Practice print → and the "Bombtrack" Studio print → put a slice of LA fury on your wall.
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