Marty Friedman

Hangar 18

Marty Friedman · Rust in Peace · 1990

What Makes This Sound Unique

A showcase of two distinct lead voices alternating through multiple solo sections — Marty's melodically rich Eastern-influenced phrasing contrasts with Dave Mustaine's more angular thrash-derived approach. Marty's sections are identifiable by wider vibrato and greater scalar variety.

  1. 1Jackson DK2 Dinky (DiMarzio Super Distortion)
  2. 2Mesa Boogie Mark II C+ (lead channel)
  3. 3Marshall 1960 cabinet
  4. 4Boss DD-3 Delay (short slapback between solo sections)
Gain / Volume8
Bass5
Mid7
Treble8
Presence7

Slightly brighter than Tornado of Souls — more treble to cut through the fast riff sections. The Mesa tight response makes single-note runs at thrash tempos intelligible even with rhythm guitars competing.

How to Play It

Consecutive alternate picking runs mixed with wide intervallic leaps — Marty moves through positions quickly, covering a wide fretboard range in a small number of notes compared to more linear shred approaches.

Achievable With

Active-pickup superstrat (EMG 81/85) or DiMarzio-loaded Jackson → Mesa Boogie or 5150 clone → minimal reverb. Active pickups tighten the low end at this gain level.

Adapt to My Amp

Other Song Rigs

Tornado of Souls

Rust in Peace · 1990

Widely regarded as one of the greatest guitar solos ever recorded — the tone is

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A Tout le Monde

Countdown to Extinction · 1992

Marty's most emotionally direct work — the solo shifts from aggressive to heartf

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Into the Arena

Dragon's Kiss · 1988

Marty's solo debut showcase — a melodic neoclassical instrumental built on his u

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For a Friend

Introduction · 1994

Marty's most beautiful post-Megadeth solo piece — a slow, lyrical instrumental d

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Thunder March

Scenes · 1992

Marty's first post-Megadeth album solo track — a full orchestral arrangement wit

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