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Flying High Again — Ozzy Osbourne1 / 2
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Flying High Again Riff Guitar Tone Settings — Ozzy Osbourne

Ozzy Osbourne · 1980s · metal

studio

Original Recording

Guitar
Jackson Concorde V (white, custom-made for Randy Rhoads)
Pickups
Seymour Duncan TB-4 JB (bridge humbucker, custom-wound for Rhoads)
Amp
Marshall 1959 Super Lead 100-watt head (early 1970s, metal front)
Pickup Position
Bridge pickup

Studio recording, 1981. Guitar is the Jackson Concorde V, not the Sandoval V or Les Paul. Amp is a Marshall 1959 Super Lead, boosted with MXR Distortion +. Effects include MXR Flanger and 10-Band EQ. Settings are for the studio rhythm/riff section of 'Flying High Again'.

Amp Settings

Mids
5.5
Bass
5.5
Gain
7
Reverb
1
Treble
6.5
Presence
6

Effects Chain

  • MXR Distortion + · distortion
  • MXR M108 10-Band EQ · eq
  • MXR M117R Flanger · flanger

Jackson Concorde V → MXR Distortion + → MXR 10-Band EQ → MXR Flanger → Marshall 1959 Super Lead (spring reverb low)

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Tone Character

  • tight palm-muted chugs
  • aggressive bridge pickup attack
  • saturated but articulate rhythm tone
  • classic heavy metal crunch
  • percussive and defined low end
  • singing sustain
  • slightly scooped mids
  • crisp high end
  • Marshall mid-high crunch
  • MXR Distortion + always on for rhythm

Notes & Caveats

  • ⚠️No direct amp knob photos/settings for 'Flying High Again' studio session found; settings estimated based on cited sources and typical Marshall 1959 + MXR Distortion + setup.
  • ⚠️Pickup model inferred from multiple sources referencing Seymour Duncan JB custom for Rhoads' Concorde.
  • ⚠️Flanger effect confirmed by multiple sources and is clearly audible in the riff.
  • ⚠️Presence and reverb settings estimated based on typical Marshall use and cited Guitar World settings.
  • ⚠️No evidence of chorus, delay, or wah in the riff section; flanger is the only modulation effect used for the riff.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Randy Rhoads on 'Flying High Again' used a high-gain Marshall (likely a modded 1959 or JCM800) with a tight, articulate 80s metal tone—crunchy but not overly saturated, with mids pushed for cut, moderate bass for clarity, and bright but not harsh treble. The production is dry with minimal reverb, matching early 80s metal conventions.

Sources