– Ibanez DFL Flanger I was suspicious of the something else so I bought the Marshall and that was it. Replaced the Ibanez Flanger when Audioslave was formed), More recent updates — setup used with Ozzy Osbourne and in Prophets of Rage. This guitar was used around 1999 – during the time the band (RATM) was working on The Battle of Los Angeles album. Since March 2015 one the guitars can be seen at the Woody Guthrie Museum in Oklahoma. I only had a couple days to replace the gear and I went to the local music store in Hollywood. Tom’s Kay SG replica featured cherry red finish, plywood body, Bigsby-style tremolo, and two blade pickups. This guitar is finished in black and has a matching headstock and features white binding along the top edge of the body, as well as a mirror pickguard. In the most recent days Tom swapped the single DD-2 pedal with a pair of DD-3s. He also removed the original pickups and installed the EMG 85/EMG H set. St. George guitars are a sort of a mystery. – Marshall JCM800 4×12 Cabinet Later on, he brought it with him and used it for practicing during the time he was enrolled at Harvard University around 1982, and continued using it after moving to LA in 1986. This was originally made as a Factory Special Run for Guitar Center. As it is just a customised stock guitar, it shouldn't be uploaded other than this. For years I was seeking out this miraculous tone and I was banging my head against the wall trying to get all this horrible rack gear—which I thought made my sound worse—and cab/head combinations, but nothing really worked. Around 1993 he carved the words saying “Arm the Homeless” which quickly became the guitar’s nickname due to lack of actual branding. At the time of buying this guitar Tom was looking for a new instrument as he was making the transition from RATM to Audioslave. Tom’s usual setup is as follows (used with SSSC, Nightwatchman, Bruce, RATM, etc). Tom used this guitar with his high school band called “The Electric Sheep”. It originally had three Fender Noiseless pickups,  but Tom replaced the bridge pickup with a Seymour Duncan Hot Rails. ANyone remember which interview that Tom said this guitar was a 1982 model? – Marshall JCM 800 2205 50W Early 80s model that Tom used pretty much his whole career. And so the exchange was made, and this is in a song with all the Rage [Against The Machine], Audioslave, Street Sweeper [Social Club], The Nightwatchman songs that are in drop D tuning. It's his main Drop D guitar, used on: (All the info from http://penguinguitars.tripod.com/RATM/#). The guitar is based on the Fender Telecaster model, but features hollow steel body. The reason behind that was I had to record a demo for my band on the weekend and all my gear got stolen out of my van. When Tom initially tried the guitar he fell in love with the sound, but hated the beer logo – so he decided to get rid of it. His nylon string guitar that he had at the time wasn’t loud enough for live gigs, so he talked with guys from Ibanez about ma king him one. Tom used this guitar to record the song “Tire Me” from the RATM’s second album, paired with a 20w solid-state amp. Tom allegedly used it to record some overdubs on the record. They had two heads, a Marshall and something else. Tom bought this guitar at a pawn shop in Toronto for around $30. – Boss DD-3 Digital Delay He played with the knobs on the amp to get the sound exactly where he wanted it, and he stuck with those exact same settings ever since. Although Tom mostly uses the same exact Marshall that he bought in 1988, he has a couple of them in case something goes wrong with his main one. Tom got this guitar in 2002, around the time he was starting the whole Nightwatchman thing. [Tom Morello Interview by Chris Kies, Premier Guitar December 16, 2008]. It worked on that demo and I’ve loved the sound from that combo to this day—no magical rhyme or reason, but it has worked out for me quite well. He took it out of retirement as soon as 2005 during the writing of ‘Out of Exile’ album, and since then it has been used regularly like before. So when heard there was a harmonizer in a stompbox, I thought I gotta get me one of those. He’s been using one exact same amp since the beginning of his career – the Marshall JCM800, and his main effect is the Digitech Whammy pedal. The whammy pedal for me was a great invention because I never had the patience to read all the manuals (tha came with various pedals), and when you plugged them in they drained all the sound and it sounded kinda crappy. All of the amps have their Marshall logos covered in black tape. It appears to be a standard American Telecaster (he reveals in other interviews it is a 1982 model), with a black finish, white pickguard, and a maple neck. This is the cabinet that Tom uses with his Marshall JCM800, both of which he used almost exlusively since 1988. ", Here's also what the guitar looks like stock, same configuration and colors as Tom Morello's (only thing missing are his stickers :-) ) http://i.imgur.com/9LYeYjHl.jpg, Here's Tom Morello using the Tele on "Killing in the Name" From the looks of it is stock, and is adorned with several stickers. This photo dates back to 1950s and the Mau Mau Uprising that happened during the time Tom’s father was living in Kenya. They are the same markings/settings I used at every show and every record I’ve ever made. He also installed a locking-nut to go with the black Ibanez Edge tremolo bridge. – GHS Boomers 9 – 46 (used on all guitars with tremolo), – GHS Boomers 10 – 46 (used on other guitars, with a 56 instead of the 46 for the drop-B guitars). (Dan). Finally, I went back to the Marshall head and Peavey cabinet. It also has a killswitch identical to one used on the Aerodyne (more about this below). The guitar is completely stock except for the pickguard which was removed. Tom’s custom-made Ibanez Talman features Kenyan flag finish, maple neck/rosewood fretboard, Ibanez Lo-Pro Edge tremolo, and three single coil “lipstick” pickups. This guitar was custom-built for Morello. The guitar is decorated with couple of drawings of a hypo done by Tom himself (it is supposedly the only he could draw, and he only knew how to draw them facing the left side). As the guitar was laying around it accidentally picked up signal from a Korean radio station which ended up as a part of “Sleep Now in the Fire” song. When RATM reunited in 2007 it was back as his main guitar, and remained as such to this day.

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