GuitarDistortedSolo80% confidence
Nothing Else Matters Solo Guitar Tone Settings — Metallica
Metallica · 1990s · metal
studio
Original Recording
Guitar
ESP KH-2 (Kirk Hammett Signature, 1991 model, black finish, stock for Black Album era)
Pickups
EMG 81 (bridge, active humbucker), EMG 60 (neck, active humbucker)
Amp
Mesa/Boogie Mark IIC+ (studio recording, Black Album sessions)
Pickup Position
Neck pickup (EMG 60, for smoother lead tone)
Studio recording, 1991 Black Album sessions. Kirk Hammett used his ESP KH-2 with EMG pickups through a Mesa/Boogie Mark IIC+ for the solo. No confirmed pedal boost, but wah and delay are clearly audible in the solo. Settings estimated based on genre, era, and forum advice for lead tones.
Amp Settings
Mids5.5
Bass5.5
Gain6.5
Reverb2
Treble7
Presence6.5
Effects Chain
- Wah pedal (likely Dunlop Cry Baby GCB-95) · wah
- Delay pedal (model unknown, likely rackmount or Boss DD-3/TC Electronic 2290) · delay
ESP KH-2 → Wah pedal → Delay pedal → Mesa/Boogie Mark IIC+ (plate reverb)
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Tone Character
- singing sustain
- smooth and fluid lead lines
- articulate note separation
- mids-forward
- bright and present highs
- not overly scooped
- expressive wah sweeps
- clear delay repeats
- liquid sustain
- controlled feedback
Notes & Caveats
- No official studio amp knob settings found; settings estimated based on typical Mesa/Boogie Mark IIC+ lead tones for 1991 Metallica.
- Pedal models for delay and wah not confirmed for studio recording; included based on clear audibility and Kirk's typical gear.
- Forum sources recommend 'keep it on the treble side' and 'mids and highs are your friend' for this solo.
- No evidence of boost/overdrive pedal in studio chain; Tube Screamer use is documented for live, not studio.
- Pickup choice inferred from tone and typical Kirk Hammett practice for solos of this era.
- Settings cross-referenced with genre and era conventions for accuracy. James Hetfield's solo tone on 'Nothing Else Matters' (Black Album era) uses a moderately high gain for sustain, tight bass, heavily scooped mids, and bright but not harsh treble/presence, typical of his Mesa/Boogie Mark IIC+ settings. Reverb is minimal, as most ambience comes from studio effects, not amp reverb.