GuitarDistortedSolo80% confidence
Rainbow In the Dark Solo Guitar Tone Settings — Dio
Dio · 1980s · metal
studio
Original Recording
Guitar
1970s Gibson Les Paul Deluxe (wine red, mini-humbuckers, stock electronics)
Pickups
Gibson mini-humbuckers (stock, likely bridge position for solo)
Amp
Marshall JCM800 2203 head into Marshall 4x12 cabinet (studio recording, 1983)
Pickup Position
Bridge pickup
Studio recording, 1983. Vivian Campbell used his wine red Les Paul Deluxe and a Marshall JCM800 for the Holy Diver album, including 'Rainbow In the Dark' solo. No evidence of alternate guitars or amps for the solo section. Pedal/EQ boost for solos is mentioned, but no specific model confirmed.
Amp Settings
Mids6.5
Bass6
Gain7.5
Reverb1.5
Treble7
Presence6.5
Effects Chain
- Solo boost/EQ pedal (model unknown) · boost
- Delay pedal (model unknown) · delay
Guitar → Solo boost/EQ pedal (model unknown) → Delay pedal (model unknown) → Marshall JCM800 2203 → Marshall 4x12 cab (amp spring reverb low)
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Tone Character
- singing sustain
- aggressive lead attack
- tight and articulate
- cutting upper mids
- rich harmonic overtones
- fast legato runs
- fluid bends and vibrato
- high-gain saturation
- clear note separation
- metallic edge
Notes & Caveats
- No direct source lists exact amp knob settings for 'Rainbow In the Dark' solo; settings estimated based on typical Marshall JCM800 use in early 80s metal and tone characteristics audible in the solo.
- No specific pedal model for solo boost or EQ is confirmed for the studio recording; only general mention of 'a little pedal and EQ to kick in for solos'.
- No evidence of chorus, flanger, or phaser in the solo section; delay is clearly audible but model is not confirmed.
- Reverb is likely from the amp or studio, set low; no evidence of heavy reverb or modulation effects.
- Settings cross-referenced with genre and era conventions for accuracy. Vivian Campbell's solo tone on 'Rainbow In the Dark' is classic early-80s high-gain Marshall: saturated but articulate, with a tight low end, forward mids, and enough treble/presence to cut through the mix. The reverb is minimal, as was typical for metal leads of the era, relying on studio ambience rather than amp reverb.