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 · 7 blocksLive values · Pedalboard
Guitar
Karl Sandoval polka-dot Flying V (1979)
Pickups
HH
Tuning
bridge
Strings
standard
MXR Distortion+
MXR 10-Band Graphic EQ
Marshall 1959 Super Lead 100W
Marshall 1960A/1960B 4x12 (white)
Shure SM57
MXR Stereo Chorus
MXR Distortion+
distortion
Output
7
Distortion
4
MXR 10-Band Graphic EQ
eq
500Hz
3
1kHz
4
2kHz
3
Level
2
Marshall 1959 Super Lead 100W
preamp
Presence
6
Bass
5
Middle
6
Treble
7
Volume I
9
Volume II
6
MXR Stereo Chorus
chorus · FX loop
Rate
0.5Hz
Width
30
Mix
30
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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