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 · 6 blocksLive values · Boss Katana
Guitar
Karl Sandoval polka-dot Flying V (1979)
Pickups
HH
Tuning
bridge
Strings
standard
Booster
Crunch
FX
Delay
Reverb
Booster
← MXR Distortion+ and 10-band EQ
Drive
4
Bottom
4
Tone
6
Level
8
Crunch
← Marshall 1959 Super Lead 100W
Gain
7
Volume
6
Bass
5
Middle
6
Treble
7
Presence
6
Master
6
FX
← MXR Stereo Chorus
Rate
0.5Hz
Depth
3
Level
5
Delay
← Korg echo / AMS DMX digital delay
Time
380ms
Feedback
2
EffectLevel
15
Reverb
← Ridge Farm studio ambience
Time
18ms
PreDelay
25ms
Tone
5
EffectLevel
18
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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