Tone library / Metallica / Master of Puppets

Master of Puppets amp settings — NUX Mighty 20 MkII

The Metallica guitar tone for “Master of Puppets”, dialed in for a NUX Mighty 20 MkII with a Hi Volts Superstrat. Studio version, Master of Puppets (1986) — main rhythm riff

Original rig

Jackson King V (Seymour Duncan Invader bridge) into Mesa/Boogie Mark IIC+ (slaved into Marshall power section/cabs) with 5-band graphic EQ scooped in a V-shape

Aggressive, tight thrash metal rhythm with deep low-end thump, scooped 750Hz mids, and razor-sharp picking attack
Amp settings — NUX Mighty 20 MkII
CHANNELFireman (or California V / Metal amp model)BOOSToff
GAIN 7 BASS 8 MID 3 TREBLE 7 REVERB 0 MASTER 6
KnobSetting (0–10)
Gain7
Bass8
Mid3
Treble7
Reverb0
Master6
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Guitar
PICKUPbridge TONE10 VOLUME10
Signal chain

01Onboard Noise Gate block

Enable the Mighty 20 MkII onboard Noise Gate to keep the fast staccato palm mutes tight and silent between hits.

Threshold 7 · Decay 3

02Onboard 6-Band Graphic EQ block

Post-amp EQ recreating the signature Mesa Mark IIC+ V-curve scoop.

100Hz 7 · 250Hz 6 · 630Hz 3 · 1.2kHz 4 · 3.2kHz 7 · Level 5
Why these settings

The NUX Mighty 20 MkII is a modeling amp, so we select the high-gain Fireman or Cali V model to capture the cascading Mesa preamp saturation without needing an external pedal. The mids are pulled down to 3 on the amp EQ and sculpted further via the onboard graphic EQ block to replicate Hetfield's famous Mark IIC+ V-curve scoop. Bass is boosted to 8 to supply the low-end chug on an 8-inch speaker without flubbing out. Clean interlude: switch to the Twin Clean amp model with volume rolled to 8 and bridge pickup split or neck selected.

PRO TIPEvery single rhythm note in the main riff must be strictly downpicked right next to the bridge saddles; the razor-sharp percussive bite of this tone comes from heavy pick attack, not excess preamp gain.

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These settings are for a NUX Mighty 20 MkII. ToneAdapt matches any song to whatever amp, guitar and pedals you own — first match is free.

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