Marty Friedman
MetalShredRock1980s–present

Marty Friedman

Jackson or Ibanez signature guitar into a Mesa/Boogie Mark series or similar high-gain amp. The lead tone is smooth and singing with a distinctive vibrato. Unlike many metal players, Friedman deliberately avoids staying inside conventional pentatonic or diatonic scales — exotic modal inflections are the signature.

Budget Rig Breakdown

Signal Chain

GuitarIbanez RG421
AmpKatana 50
Boss Katana 50 MkII — Amp
Estimated total~£478

Key Tone Tips

  • Use exotic scales — Phrygian dominant, Hungarian minor and Japanese modes (In scale) feature prominently. Learn these scales in all positions before attempting Friedman-style phrasing
  • Bend to non-target notes intentionally — Friedman bends to pitches outside the standard scale degrees (b9, #4, b6) for the exotic character
  • Economy picking over alternate picking for faster passages — Friedman uses economy picking (sweep-in-direction approach) rather than strict alternate picking
  • Vibrato is wide, slow and distinctive — immediately recognisable compared to other metal players. Start the vibrato from below pitch and reach up
  • The lead tone is warm and smooth, not bright and harsh — cut the treble slightly compared to rhythm settings
  • Study "Tornado of Souls" from Rust in Peace — widely cited as one of the best solos in metal, it demonstrates all the exotic scale work and vibrato in context
  • Legato technique is used for fast descending runs — hammer-on and pull-off combinations at speed before switching to picked lines
  • The Japanese musical influence comes from years living in Japan — immerse yourself in pentatonic Japanese music to understand the scale source
  • Melody over technique — Friedman has explicitly said that melody and the ability to write a memorable melodic phrase matters more than speed or technical exhibition

About Marty Friedman's Sound

Marty Friedman of Megadeth and solo career fame brought a melodic and exotic flavour to heavy metal guitar — using Eastern and Asian scales over metal rhythm sections in a way that was completely unique among shred guitarists of the era.