GuitarCleanRiff80% confidence
Diary of a Madman Riff Guitar Tone Settings — Ozzy Osbourne
Ozzy Osbourne · 1980s · metal
studio
Original Recording
Guitar
1970 Gibson Les Paul Custom (white, likely neck pickup for clean intro)
Pickups
Gibson Super 74 humbucker (neck), Gibson PAF (bridge)
Amp
Marshall model 1959 Super Lead 100-watt head (early 1970s, metal front) into Marshall 4x12 cabinets with Altec 417-8H speakers
Pickup Position
Neck pickup
Studio recording, 1981. Clean intro/riff section. Randy Rhoads alternated between Les Paul Custom and custom Vs, but Les Paul Custom is most associated with clean/classical passages. Marshall head is confirmed for studio use. Effects are based on both source mentions and audible analysis.
Amp Settings
Mids6.5
Bass5.5
Gain0
Reverb2
Treble7
Presence5.5
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Tone Character
- warm and rounded
- bell-like clarity
- articulate and dynamic
- natural sustain
- open and ringing
- slight studio ambience
- no audible distortion
- no modulation effects
- fingerstyle classical influence
- subtle reverb
Notes & Caveats
- Gain adjusted to 0 for clean tone
- No source gives exact amp knob settings for the clean intro; settings are estimated based on typical Marshall Super Lead clean settings and era.
- Guitar model is inferred from multiple sources and typical usage for clean/classical passages; some sources mention custom Vs but Les Paul Custom is most likely for clean intro.
- No explicit mention of pedal use for clean section; delay and chorus/flanger are NOT audible in the clean intro, only subtle reverb.
- Pickup choice (neck) is inferred from tone and playing style.
- Reverb is likely from the studio or amp, set low for ambience.
- Settings cross-referenced with genre and era conventions for accuracy. Randy Rhoads used a Marshall amp with high gain for saturated but articulate 80s metal tone, with mids pushed for note clarity, moderate bass for tightness, and slightly boosted treble/presence for cut. The production is dry with minimal reverb, typical of early 80s metal.