No. 1221999·alternative-metal·6 blocks
Sleep Now in the Fire
Standard tuning — not Drop D — and a goading, almost childlike riff built on A-minor pentatonic over a droning open A string. The Battle of Los Angeles single runs Morello's 'Arm the Homeless' into the career-long 50-watt Marshall JCM800 2205 and Peavey 4x12. The verse hides a strange harmonized hum: the DigiTech Whammy set to add a fixed interval below the fretted note. The wandering solo weaves wah and Whammy together while the pickup toggle stutters the feedback. The gear stays mid-forward and tight; the weirdness is all in the pedals and the right hand.
The Battle of Los AngelesSignal path · input → output · 9 blocksLive values · Neural DSP Quad Cortex
Guitar
'Arm the Homeless' custom (Performance body / Kramer neck)
Pickups
HH
Tuning
bridge
Strings
standard
Noise Gate
Studio Comp
Whammy
Cry Wah
Brit 2203
4x12 G12-65
Digital Delay
Tilt EQ
Noise Gate
← Studio noise gate (FRFR essential)
Threshold
-52dB
Decay
0.2s
Level
0
Studio Comp
← Tracking compression
Threshold
-32dB
Ratio
2:1
Attack
8s
Release
120s
Mix
40
Level
0dB
Whammy
← DigiTech Whammy WH-1 (harmony mode)
Mix
50
Level
0
Cry Wah
← Dunlop Cry Baby (GCB95)
Mix
100
Level
0
Brit 2203
← Marshall JCM800 2205 (50W)
Gain
8.5
Bass
10
Mid
9
Treble
7
Presence
7
Master
5
Sag
4.5
4x12 G12-65
← Peavey 4x12 (Celestion G12K-85)
LowCut85Hz
HighCut10000Hz
Level
0dB
Digital Delay
← Boss DD-3 (FX loop)
Time
420ms
Feedback
3
Mix
16
Level
0
Tilt EQ
← Tilt EQ (global brightness)
Tilt
5
CenterFreq
1000Hz
Level
0
Engineer's note
File 122
Standard tuning — not Drop D — and a goading, almost childlike riff built on A-minor pentatonic over a droning open A string. The Battle of Los Angeles single runs Morello's 'Arm the Homeless' into the career-long 50-watt Marshall JCM800 2205 and Peavey 4x12. The verse hides a strange harmonized hum: the DigiTech Whammy set to add a fixed interval below the fretted note. The wandering solo weaves wah and Whammy together while the pickup toggle stutters the feedback. The gear stays mid-forward and tight; the weirdness is all in the pedals and the right hand.
— Tom Morello
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