No. 2041980·metal·5 blocks
Mr. Crowley
The outro solo that made Randy Rhoads' reputation, cut at Ridge Farm in the spring of 1980 with Max Norman engineering. The rig is a 1974 Les Paul Custom into a Marshall 1959 Super Lead run through a Variac at around 90 volts, with an MXR Distortion+ in front. The room matters as much as the amp: the cabinets lived in a stone chamber under the control room, and Rhoads played from the top of the steps into that natural reverb rather than a plate.
Signal path · input → output · 9 blocksLive values · Line 6 Helix
Guitar
Gibson Les Paul Custom (1974, cream)
Pickups
HH
Tuning
bridge
Strings
standard
Deluxe Comp
Vermin Dist
10 Band Graphic EQ
Brit Plexi Nrm
4x12 Greenback 25
Optical Trem
Simple Delay
Chamber
Deluxe Comp
← Studio compression
Threshold
-30dB
Ratio
2.5:1
Knee
6dB
Attack
45s
Release
300s
Mix
40
Level
0dB
Vermin Dist
← MXR Distortion+
Gain
6
Tone
6
Level
7
10 Band Graphic EQ
← MXR 10-Band Graphic EQ
Tilt
0.5
CenterFreq
1000Hz
Level
3
500Hz
3
1kHz
4
2kHz
2
Brit Plexi Nrm
← Marshall 1959 Super Lead (Variac'd to ~90V)
Drive
8
Bass
4
Mid
6
Treble
7
Presence
5
ChVol
6
Master
10
Bias
6.5
BiasX
6
Sag
8
Hum
5.5
Ripple
6
4x12 Greenback 25
← Two Marshall 4x12 cabinets
LowCut100Hz
HighCut6800Hz
Resonance
5
Level
0dB
Pan
0.5
Delay
0
Optical Trem
← MXR Stereo Chorus
Rate
0.5Hz
Depth
25
Mix
25
Level
0
Simple Delay
← External delay units
LowCut200Hz
HighCut4200Hz
Time
420ms
Feedback
24
Mix
16
Level
0
Chamber
← Ridge Farm stone room
LowCut160Hz
HighCut7000Hz
Mix
26
Decay
2.2s
Predelay
25ms
Level
0
Engineer's note
File 204
The outro solo that made Randy Rhoads' reputation, cut at Ridge Farm in the spring of 1980 with Max Norman engineering. The rig is a 1974 Les Paul Custom into a Marshall 1959 Super Lead run through a Variac at around 90 volts, with an MXR Distortion+ in front. The room matters as much as the amp: the cabinets lived in a stone chamber under the control room, and Rhoads played from the top of the steps into that natural reverb rather than a plate.
— Randy Rhoads
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