TonesMatch
The Unforgiven — Metallica1 / 2
Original RigYour Adaptation
GuitarDistortedSolo80% confidence

The Unforgiven Solo Guitar Tone Settings — Metallica

Metallica · 1990s · metal

studio

Original Recording

Guitar
ESP KH-2 (Kirk Hammett signature, likely with EMG 81/60 pickups)
Pickups
EMG 81 (bridge, active humbucker)
Amp
Mesa/Boogie Mark IIC+
Pickup Position
Bridge pickup

Studio recording, 1991. Kirk Hammett played the solo on the original Black Album recording using his ESP KH-2 with EMG pickups into a Mesa/Boogie Mark IIC+. Wah pedal is clearly audible in the solo. No evidence of additional pedals or effects except for possible studio delay/reverb. Settings estimated based on era, genre, and typical Mark IIC+ usage for Metallica solos.

Amp Settings

Mids
4
Bass
5.5
Gain
7.5
Reverb
1.5
Treble
7
Presence
6.5

Effects Chain

  • Cry Baby Wah (model unknown, likely Dunlop GCB95 or signature KH95) · wah

ESP KH-2 (bridge pickup) → Cry Baby Wah → Mesa/Boogie Mark IIC+ (with spring reverb, possible studio delay)

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Tone Character

  • singing sustain
  • expressive wah sweeps
  • liquid lead tone
  • smooth legato runs
  • clear note separation
  • slightly scooped mids
  • tight low end
  • bright attack
  • high output, saturated sound

Notes & Caveats

  • ⚠️No direct numeric amp settings for The Unforgiven solo found in sources; settings estimated based on typical Mark IIC+ usage for Metallica in early 1990s.
  • ⚠️ESP KH-2 with EMG 81/60 pickups is strongly supported by era and artist interviews, but not explicitly confirmed for this exact solo in sources.
  • ⚠️Wah pedal is clearly audible in the solo, but exact model not specified in sources; Kirk Hammett is known for using Dunlop Cry Baby wahs.
  • ⚠️Delay and reverb are likely present in the mix, but no explicit pedal or amp model is confirmed for these effects.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Kirk Hammett's solo tone on 'The Unforgiven' uses a high-gain, scooped-mid sound typical of Metallica's Black Album era, with tight bass, slightly boosted treble and presence for clarity, and a dry signal (no reverb) as per Bob Rock's production style.

Sources