Tone library / Metallica / Enter sandman solo estudio

Enter sandman solo estudio amp settings — NUX MG-30

The Metallica guitar tone for “Enter sandman solo estudio”, dialed in for a NUX MG-30 with a Gibson Flying V. Studio version solo, Metallica (The Black Album, 1991)

Original rig

ESP KH-2 (EMG 81 bridge) -> Dunlop Cry Baby Wah -> Mesa Boogie Mark IIC++ (slaved into Marshall power amps / 4x12 cabs) with outboard Aphex EQ and Eventide H3000 pitch detune

Saturated, singing 90s lead tone with aggressive wah sweep and tight scooped low-mids
Amp settings — NUX MG-30
CHANNELCALI ML (Mesa Mark series lead) + 4x12 V30 Cab IRBOOSToff
GAIN 8 BASS 5 MID 4 TREBLE 7 PRESENCE 6 REVERB 2 MASTER 7
KnobSetting (0–10)
Gain8
Bass5
Mid4
Treble7
Presence6
Reverb2
Master7
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Guitar
PICKUPbridge TONE10 VOLUME10
Signal chain

01Touch Wah / Wah Block

Set expression pedal to Wah (Kirk Hammett signature sweep)

Pedal 6

02EFX Block (Katana Boost)

Onboard clean boost to tighten tracking and push front end saturation

Boost 4

03EQ Block (10-Band)

Post-amp block cut around 1-1.2kHz to match the studio outboard Aphex scoop

Gain 5 · 1.2kHz 3

04MOD Block (Detune)

Replicates the studio Eventide H3000 pitch widening on Kirk's lead track

Detune 3 · Level 4

05DLY Block (Digital Delay)

Set to roughly 320ms for subtle studio solo depth

Time 4 · Repeat 3 · Mix 3
Why these settings

Your Gibson Flying V passive humbuckers lack the built-in active compression of Kirk's EMG 81, so the amp model gain is set up to 8 with the onboard Katana Boost block engaged to compensate. Mesa Mark preamp lead tone relies on keeping the pre-gain bass modest (5) while using the NUX 10-Band EQ block post-amp to pull 1.2kHz down for the authentic Black Album scoop. Reverb is kept subtle at 2 because the stereo detune and delay blocks provide the studio solo's spatial width. Clean intro switch: bypass the wah, boost, and delay blocks and switch to the Clean amp model on neck pickup.

PRO TIPKirk plays this solo almost entirely with heel-to-toe wide wah sweeps timed to accent up-strokes and string bends; hit pinch harmonics aggressively on the high G and B strings during the climax.

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