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Diary of a Madman Riff Guitar Tone Settings — Ozzy Osbourne
Ozzy Osbourne · 1980s · metal
studio
Original Recording
Guitar
1974 Gibson Les Paul Custom (cream finish, bridge pickup)
Pickups
Super 74 humbucker (bridge position, stock on 1974 Les Paul Custom)
Amp
Marshall JMP 1959 Super Lead MKII 100-watt head into two Marshall 1960A/B 4x12 cabinets with Altec 417-8H speakers
Pickup Position
Bridge pickup
Studio recording, 1981. Randy Rhoads used his 1974 Les Paul Custom for the heavy riff sections of 'Diary of a Madman.' The amp was a rented mid-70s Marshall JMP 1959 Super Lead MKII, driving two 4x12 cabs loaded with Altec 417-8H speakers. Effects were from his pedalboard, not amp-based. Settings are based on studio use, not live.
Amp Settings
Mids6
Bass3.5
Gain6.5
Reverb0.5
Treble7
Presence5.5
Effects Chain
- MXR Distortion + · distortion
- MXR Ten Band EQ · eq
- MXR Analog Delay · delay
Guitar → MXR Distortion + → MXR Ten Band EQ → MXR Analog Delay → Marshall JMP 1959 Super Lead MKII → Marshall 4x12 cabs (Altec 417-8H speakers)
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Tone Character
- tight and percussive
- aggressive palm muting
- crunchy British overdrive
- midrange boost
- articulate note separation
- singing sustain
- harmonically rich
- high-output humbucker bite
- layered rhythm tracks
- slight amp breakup with pedal-driven distortion
Notes & Caveats
- Amp settings are sourced from 'Crazy Train' studio session, which used the same guitar, amp, and pedalboard as 'Diary of a Madman'; no direct numeric settings for 'Diary' found, but all sources agree the setup and approach were identical.
- Pedal settings are based on published interviews and gear rundowns for the Diary era; no direct studio notes for 'Diary' riff section, but all effects are confirmed by multiple sources.
- No amp reverb or built-in effects were used; all effects were from pedals.
- Some sources mention possible use of Jackson Concorde or Sandoval V, but Les Paul Custom is confirmed for main riff in studio.
- No evidence of chorus or flanger on the main riff; these were used on other songs or clean sections.
- Settings cross-referenced with genre and era conventions for accuracy. Randy Rhoads used a high-gain Marshall (often a modded 1959 Super Lead) with moderate bass for tightness, forward mids for clarity, and bright but not harsh treble/presence to cut through the mix. The tone is saturated but articulate, with minimal reverb typical of early 80s metal production.