GuitarDistortedRiff80% confidence
Crazy Train Riff Guitar Tone Settings — Ozzy Osbourne
Ozzy Osbourne · 1980s · metal
studio
Original Recording
Guitar
1974 Gibson Les Paul Custom
Pickups
Gibson humbuckers (stock, likely T-Top)
Amp
1975-76 Marshall JMP model 1959 Super Lead MKII 100-watt head
Pickup Position
Bridge pickup
Studio recording, 1980. Used bridge pickup, amp into two Marshall 1960A/B 4x12 cabs with Altec 417-8H speakers. Distortion and EQ from pedalboard, not amp. Settings from studio session, not live.
Amp Settings
Mids6
Bass3.5
Gain6.5
Reverb0.5
Treble7
Presence5.5
Effects Chain
- MXR Distortion + · distortion
- MXR Ten Band Graphic EQ · eq
Guitar → MXR Distortion + → MXR Ten Band EQ → Marshall JMP 1959 Super Lead MKII → Marshall 4x12 cabs (Altec 417-8H speakers)
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Tone Character
- tight and percussive
- bright and articulate
- focused midrange punch
- aggressive bridge pickup bite
- fast note attack
- high clarity under gain
- minimal amp breakup
- main distortion from pedal
- clear note separation
- metal riffing with palm muting
Notes & Caveats
- All amp and pedal settings are from studio recording, not live.
- No reverb used on amp or pedalboard for riff section; any delay/reverb was added in mix, not part of guitarist's chain.
- Pedal EQ settings are from MXR Ten Band EQ, but amp EQ is relatively flat except for low bass.
- Pickup model is inferred as stock Gibson humbuckers (likely T-Top) based on era and guitar model.
- No chorus, flanger, phaser, or other modulation effects are audible or cited for the riff section.
- AMS DMX digital delay was added in mix, not in guitarist's signal chain for riff.
- Settings cross-referenced with genre and era conventions for accuracy. Randy Rhoads used a Marshall amp with high gain for a saturated but articulate 80s metal tone, keeping the bass tight and mids present for clarity, with bright treble and moderate presence for cut. The original recording is quite dry, so reverb is minimal.