Suicide Messiah Riff Guitar Tone Settings — Black Label Society
Black Label Society · 2000s · metal
studio
Original Recording
Studio recording for 'Mafia' (2005). Zakk Wylde is seen using both the Gibson Les Paul Custom 'The Rebel' and the Sandoval Polka Dot Flying V with EMG pickups in the 'Suicide Messiah' music video and era. The amp is the Marshall JCM800 2203ZW signature head, confirmed by multiple sources. No direct evidence of pedals used in the studio for the riff section, but chorus is likely based on Zakk's always-on live setup and audible width in the recording. Settings are estimated based on typical Zakk Wylde/Marshall JCM800 metal tones of the era.
Amp Settings
Effects Chain
- Boss CE-5 Chorus Ensemble OR Boss CH-1 Super Chorus · chorus
Guitar (EMG pickups, bridge position) → Chorus pedal (Boss CE-5 or CH-1) → Marshall JCM800 2203ZW head → 4x12 cabinet
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Tone Character
- tight and percussive
- aggressive palm-muted chugs
- high-gain saturation
- chunky low end
- articulate attack
- slightly scooped mids
- wide stereo spread
- active pickup clarity
- modern metal rhythm
- focused midrange
Notes & Caveats
- No direct studio amp knob settings for 'Suicide Messiah' riff found; settings estimated based on Zakk Wylde's typical JCM800 setup and genre conventions.
- Both the Gibson Les Paul Custom 'The Rebel' and Sandoval Polka Dot Flying V are seen in use for this song/era; exact guitar on the studio recording is not definitively confirmed.
- Chorus effect is inferred from both Zakk's always-on live setup and the audible stereo width in the riff, but no explicit studio pedalboard photo or session note confirms the exact pedal used.
- No evidence of delay, reverb, or other time-based effects in the riff section; reverb is set to 0 as per typical Zakk Wylde rhythm tones.
- No evidence of effects loop usage in the studio for the riff section.
- Settings cross-referenced with genre and era conventions for accuracy. Zakk Wylde's 'Suicide Messiah' riff tone is a saturated, tight, modern metal sound with slightly scooped mids, tight bass, and aggressive presence, typical of his Wylde Audio/Marshall JCM800 setup with a Boss SD-1 boost. The track is dry with no audible reverb, matching early 2000s metal production.