GuitarDistortedSolo80% confidence
Suicide Messiah Solo Guitar Tone Settings — Black Label Society
Black Label Society · 2000s · metal
studio
Original Recording
Guitar
Gibson Les Paul Custom (likely 'The Rebel' or Bullseye) with EMG 81/85 pickups
Pickups
EMG 81 (bridge), EMG 85 (neck) active humbuckers
Amp
Marshall JCM800 2203ZW (Zakk Wylde signature, based on JCM800 circuit) into Marshall 4x12 cabinet
Pickup Position
Bridge pickup
Studio recording, 2004-2005 (Mafia album sessions). Zakk Wylde is known to use his signature JCM800 head and EMG-loaded Les Pauls for solos. No evidence of alternate guitars or amps for this solo. Settings estimated based on typical Zakk Wylde/Marshall JCM800 metal tones and era.
Amp Settings
Mids5.5
Bass6
Gain8.5
Reverb1
Treble7
Presence7
Effects Chain
- MXR M169 Carbon Copy Analog Delay · delay
- Boss CE-5 Chorus Ensemble · chorus
Gibson Les Paul Custom (EMG 81 bridge) → MXR Carbon Copy Delay → Boss CE-5 Chorus → Marshall JCM800 2203ZW → Marshall 4x12 cab
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Tone Character
- tight and saturated high-gain
- singing sustain
- aggressive pick attack
- thick, compressed solo sound
- pronounced pinch harmonics
- slight mid scoop for clarity
- articulate note separation
- audible chorus shimmer
- delay repeats on lead lines
- metallic, modern 2000s production
Notes & Caveats
- No direct numeric amp settings for 'Suicide Messiah' solo found; settings estimated based on Zakk Wylde's typical JCM800/EMG setup for solos in this era.
- Pedal models inferred from Zakk Wylde's known studio/live rig and effects clearly audible in the solo; no explicit studio session notes found.
- Guitar model inferred from video evidence and interviews; Zakk is seen with Les Paul Customs with EMGs in the 'Suicide Messiah' video and era.
- Chorus and delay are clearly audible in the solo, even if not explicitly listed for this song in sources.
- Settings cross-referenced with genre and era conventions for accuracy. Zakk Wylde's solo tone on 'Suicide Messiah' is saturated and aggressive but not overly scooped, with tight low end, moderate mids, and a cutting top end typical of his Wylde-era JCM800/Marshall settings. The track is very dry (no reverb), and the presence is boosted for clarity and bite, matching his signature high-gain, articulate lead sound.