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Mama, I'm Coming Home — Ozzy Osbourne1 / 2
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Mama, I'm Coming Home Solo Guitar Tone Settings — Ozzy Osbourne

Ozzy Osbourne · 1990s · rock

studio

Original Recording

Guitar
Gibson Chet Atkins CE
Pickups
Piezo (under-saddle, nylon-string, no magnetic pickups)
Amp
Marshall JCM 800 2203
Pickup Position
Piezo pickup (only option on Chet Atkins CE)

Studio recording, 1991. Clean intro/verse/solo sections tracked with the Gibson Chet Atkins CE (nylon-string electric), not Zakk's usual Les Paul. Amp is Marshall JCM 800, likely set clean or nearly clean for this section. Effects and pedalboard based on period-correct studio rig. No evidence of live rig or alternate guitars for the clean solo section.

Amp Settings

Mids
6.5
Bass
5.5
Gain
0
Reverb
3.5
Treble
6.5
Presence
5.5

Effects Chain

  • Chorus pedal (likely Boss CE-5 or MXR Stereo Chorus) · chorus

Gibson Chet Atkins CE → Chorus pedal → Marshall JCM 800 (clean channel, plate reverb)

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Tone Character

  • warm and mellow
  • rounded, nylon-string acoustic-electric timbre
  • clear note separation
  • slight shimmer from chorus effect
  • soft attack, gentle dynamics
  • intimate and vocal-like
  • no audible breakup or distortion
  • subtle reverb tail
  • articulate and expressive
  • not compressed or squashed

Notes & Caveats

  • ⚠️Gain adjusted to 0 for clean tone
  • ⚠️No direct numeric amp settings for the clean solo section found; settings estimated based on typical Marshall JCM 800 clean usage and genre/era.
  • ⚠️Guitar model (Gibson Chet Atkins CE) confirmed for clean parts via Equipboard and multiple interviews, but not all sources specify pickup selector (only piezo available).
  • ⚠️Chorus effect is clearly audible in the clean solo, but specific pedal model is not 100% confirmed for this exact track; MXR/Boss chorus pedals are period-correct and listed in tech interviews.
  • ⚠️Reverb is present, but may be a blend of amp reverb and studio plate/room reverb.
  • ⚠️All settings and effects refer to the studio recording, not live performances.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Zakk Wylde's solo tone on 'Mama, I'm Coming Home' is a classic early 90s high-gain Les Paul/Marshall sound: saturated but articulate, with strong mids for vocal sustain, moderate bass for punch without flub, and balanced treble/presence to cut through without harshness. Reverb is subtle, as typical for this era's ballad solos.

Sources