No. 2051983·heavy-metal·4 blocks
Bark at the Moon
The riff that had to follow Randy Rhoads, played on a rig that shares almost nothing with his. Jake E. Lee cut it at Ridge Farm in 1983 on his blue-burst Charvel San Dimas -- a Seymour Duncan JB in the bridge, DiMarzio SDS-1 single-coils elsewhere -- through a Jose Arredondo-modified Marshall he carried over from California. Where Rhoads got his sustain from an under-volted Plexi, Lee got his from a cascading-gain mod, which is why the riff is tighter and more percussive than anything on Blizzard of Ozz.
Bark at the MoonSignal path · input → output · 9 blocksLive values · Fractal Axe-Fx
Guitar
Charvel San Dimas Style 1 (blue burst)
Pickups
HSS
Tuning
bridge
Strings
standard
Gate/Expander
Studio Comp
Cameron Ch2
4x12 Greenback
Flanger
Digital Delay
Room
Filter Tilt
Gate/Expander
← Gain-structure housekeeping
Threshold
-58dB
Ratio
6:1
Release
18s
Studio Comp
← Studio compression
Threshold
-24dB
Ratio
2.5:1
Attack
15s
Release
130s
Mix
0.3
Level
0dB
Cameron Ch2
← Marshall 100W (Jose Arredondo mod)
Drive
7.5
Bass
4
Mid
5
Treble
7
Presence
6
MV
5
4x12 Greenback
← Marshall 4x12 (Celestion-loaded)
LowCut95Hz
HighCut5500Hz
Level
0dB
Flanger
← Ibanez SF10 Swell Flanger
Rate
0.3Hz
Depth
0.5
Mix
0.3
Digital Delay
← Studio delay
Time
280ms
Feedback
0.1
Mix
0.1
Room
← Ridge Farm tracking ambience
Mix
0.1
Decay
1s
Predelay
18ms
Filter Tilt
← Global tilt EQ
Tilt
0.5
CenterFreq
1100Hz
Level
0
Engineer's note
File 205
The riff that had to follow Randy Rhoads, played on a rig that shares almost nothing with his. Jake E. Lee cut it at Ridge Farm in 1983 on his blue-burst Charvel San Dimas -- a Seymour Duncan JB in the bridge, DiMarzio SDS-1 single-coils elsewhere -- through a Jose Arredondo-modified Marshall he carried over from California. Where Rhoads got his sustain from an under-volted Plexi, Lee got his from a cascading-gain mod, which is why the riff is tighter and more percussive than anything on Blizzard of Ozz.
— Jake E. Lee
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