No. 2081981·metal·6 blocks
Diary of a Madman
The most ambitious thing Rhoads recorded, and a tone that has to work clean and savage inside the same take. Producer Max Norman remembers him using the polka-dot guitar on essentially all the album's guitar tracks, into a 100-watt Marshall Super Lead with an MXR Distortion+ and a 10-band EQ pushing the midrange. There is no channel switch anywhere in that chain, so the classical-flavoured arpeggios and the tritone riff are the same amp with the guitar's volume doing the work.
Diary of a MadmanSignal path · input → output · 9 blocksLive values · Fractal Axe-Fx
Guitar
Karl Sandoval polka-dot Flying V (1979)
Pickups
HH
Tuning
bridge
Strings
standard
Studio Comp
Distortion+
Graphic EQ
Plexi 100W Bright
4x12 Greenback
Chorus
Digital Delay
Hall
Studio Comp
← Studio compression
Threshold
-26dB
Ratio
2.5:1
Attack
16s
Release
180s
Mix
0.3
Level
0dB
Distortion+
← MXR Distortion+
Drive
4
Tone
5.5
Level
7
Graphic EQ
← MXR 10-Band Graphic EQ
500Hz
3
1kHz
4
2kHz
3
Level
2
Plexi 100W Bright
← Marshall 1959 Super Lead 100W
Drive
7.5
Bass
5
Mid
6
Treble
7
Presence
6
MV
6
Cut
5
4x12 Greenback
← Marshall 1960A/1960B 4x12 (white)
LowCut100Hz
HighCut6000Hz
Level
0dB
Chorus
← MXR Stereo Chorus
Rate
0.5Hz
Depth
0.3
Mix
0.3
Digital Delay
← Korg echo / AMS DMX digital delay
Time
380ms
Feedback
0.2
Mix
0.1
Hall
← Ridge Farm studio ambience
Mix
0.2
Decay
1.8s
Predelay
25ms
Engineer's note
File 208
The most ambitious thing Rhoads recorded, and a tone that has to work clean and savage inside the same take. Producer Max Norman remembers him using the polka-dot guitar on essentially all the album's guitar tracks, into a 100-watt Marshall Super Lead with an MXR Distortion+ and a 10-band EQ pushing the midrange. There is no channel switch anywhere in that chain, so the classical-flavoured arpeggios and the tritone riff are the same amp with the guitar's volume doing the work.
— Randy Rhoads
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