Rising Force Solo Guitar Tone Settings — Yngwie Malmsteen
Yngwie Malmsteen · 1980s · metal
studio
Original Recording
Studio recording, 1984. Guitar is a Stratocaster with scalloped fretboard and DiMarzio single-coil pickups. Amp is a Marshall JMP-50 MKII, likely run very loud. Effects include DOD YJM308 (or vintage gray DOD 250) overdrive, Korg SDD-2000 digital delay, and Rocktron Hush IICX noise gate. No chorus or flanger audible. Pickup selector likely bridge or bridge+middle for solo clarity.
Amp Settings
Effects Chain
- DOD YJM308 Yngwie Malmsteen Signature Overdrive (or vintage gray DOD 250 Overdrive/Preamp) · overdrive
- Korg SDD-2000 Digital Delay · delay
- Rocktron Hush IICX Noise Gate · noise_gate
Fender Stratocaster (scalloped, DiMarzio single-coils) → DOD YJM308 Overdrive → Korg SDD-2000 Digital Delay → Rocktron Hush IICX Noise Gate → Marshall JMP-50 MKII Head → 4x12 Celestion cab (amp spring reverb on)
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Tone Character
- singing sustain
- bright and articulate
- tight and percussive
- fast attack
- fluid legato runs
- high-gain saturation
- violin-like lead tone
- crisp pick attack
- slight ambient reverb
- clear note separation
Notes & Caveats
- Exact pickup selector position is not explicitly stated in sources; inferred from typical Malmsteen solo tone and audio.
- Presence setting is estimated based on typical Marshall JMP-50 usage for 1980s shred tones.
- Delay is clearly audible in the solo but the exact model is not confirmed for this specific track; Korg SDD-2000 is the most likely based on era and Malmsteen's known studio rack.
- No chorus, flanger, or phaser is audible or mentioned for this solo.
- Settings are primarily from Guitar World lesson, which is a modern recreation but closely matches period-correct gear and tone.
- Settings cross-referenced with genre and era conventions for accuracy. Yngwie's 'Rising Force' solo tone is classic 80s neoclassical metal: high gain but not modern saturated, tight bass, strong mids for note clarity, very bright/cutting treble and presence for articulation, and minimal reverb for a dry, immediate sound. These settings reflect his typical Marshall setup and production style of the era.