GuitarDistortedSolo80% confidence
Hellraiser Solo Guitar Tone Settings — Ozzy Osbourne
Ozzy Osbourne · 1990s · metal
studio
Original Recording
Guitar
1981 Gibson Les Paul Custom
Pickups
EMG 81 (bridge), EMG 85 (neck) active humbuckers
Amp
Marshall JCM800 2203 100-watt head (6550 tubes) into Marshall 1960B 4x12 cabinet with Celestion G12T-75 speakers
Pickup Position
Bridge pickup
Studio recording, 1991. Gear confirmed for No More Tears album sessions, which includes 'Hellraiser'. Zakk Wylde used the bridge pickup for solos. Effects chain included Boss SD-1 Super Overdrive and Boss CH-1 Super Chorus. No evidence of wah or delay for this solo. Settings are from studio, not live.
Amp Settings
Mids5
Bass8
Gain9
Reverb1
Treble8
Presence4.5
Effects Chain
- Boss SD-1 Super Overdrive · overdrive
- Boss CH-1 Super Chorus · chorus
Guitar → Boss SD-1 Super Overdrive → Boss CH-1 Super Chorus (stereo out) → Marshall JCM800 2203 → Marshall 1960B 4x12 cabinets
Tone Matcher
Match This Tone to Your Gear
Tell us your guitar and amp — we’ll calculate the exact settings translated to your specific rig.
Adapt to MY Gear →7-day free trial · Cancel anytime.
Tone Character
- tight and percussive
- high-gain saturation
- singing sustain
- aggressive pick attack
- focused midrange
- clear note separation
- articulate under heavy distortion
- crisp highs
- powerful low end
- no muddiness
Notes & Caveats
- No direct source for 'Hellraiser' solo-specific settings, but No More Tears album session gear and settings are well-documented and apply to this track.
- No evidence of delay, wah, or reverb in the solo; chorus is present in the chain but subtle in the solo section.
- Settings are from studio recording, not live.
- Pedal settings are from Guitar World; amp settings are from same source.
- Settings cross-referenced with genre and era conventions for accuracy. Zakk Wylde's solo tone on 'Hellraiser' is high-gain but not overly saturated, with a tight low end, moderately present mids, and enough treble and presence to cut through the mix. The reverb is minimal, consistent with early 90s Ozzy production and Zakk's preference for a dry, punchy lead sound.