GuitarDistortedRiff80% confidence
Mama, I'm Coming Home Riff Guitar Tone Settings — Ozzy Osbourne
Ozzy Osbourne · 1990s · rock
studio
Original Recording
Guitar
Gibson Les Paul Custom (early 1980s, Zakk Wylde's bullseye model, tuned down a half step)
Pickups
EMG 81 (bridge, active humbucker)
Amp
Marshall JCM 800 2203 head into Marshall 4x12 cabinet
Pickup Position
Bridge pickup
Studio recording, 1991. Zakk Wylde used his signature Les Paul Custom with EMG pickups for the heavy riff sections. The amp was a Marshall JCM 800, likely boosted with an overdrive pedal. All details refer to the original studio recording, not live or later performances.
Amp Settings
Mids7
Bass6
Gain7
Reverb2.5
Treble7
Presence6
Effects Chain
- Boss SD-1 Super Overdrive (or similar overdrive pedal, model not 100% confirmed for this track) · overdrive
- MXR Stereo Chorus (possible, but not clearly audible in riff section) · chorus
Guitar → Boss SD-1 Super Overdrive → (possible MXR Stereo Chorus) → Marshall JCM 800 2203 head → Marshall 4x12 cabinet (amp spring reverb at low level)
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Tone Character
- saturated and thick
- tight palm-muted chugs
- aggressive pick attack
- rich harmonics
- chunky power chords
- full-bodied midrange
- modern metal edge
- clear note separation
- slightly compressed
- articulate and punchy
Notes & Caveats
- No direct numeric amp settings found in sources; settings estimated based on Marshall JCM 800 typical usage for Zakk Wylde in early 1990s and genre conventions.
- Pedal model inferred from era and artist's known gear; no direct studio documentation for this specific song's riff section.
- Chorus effect is not clearly audible in the riff section but is mentioned as part of Zakk Wylde's rig for the album; included with lower confidence.
- Reverb is likely from the studio or amp at low level; no evidence of heavy reverb in the riff section.
- Settings cross-referenced with genre and era conventions for accuracy. Zakk Wylde used a Marshall JCM800 with moderate-high gain for a thick, sustaining hard rock crunch, but not extreme metal saturation. Mids are prominent for warmth and note definition, with balanced bass and treble to avoid muddiness or harshness. Presence and reverb are moderate for clarity and subtle ambience typical of early 90s production.