Randy Rhoads — Rig Network

Randy's iconic black-and-white polka-dot V, built by Karl Sandoval. 24-fret neck, DiMarzio Super Distortion in the bridge. The shape was his own design — the first custom Jackson.

Unique to this artist in the database

Black Les Paul Custom used through his Quiet Riot years and early Ozzy recordings. The Les Paul's longer sustain and thicker midrange complemented the JMP's gain structure.

Used for some clean rhythm and classical practice work — Randy was committed to expanding his classical vocabulary on acoustic and Strat.

Randy's primary amp — the 50W JMP run at full volume produces more compression and sag than the 100W, giving the harmonically rich breakup characteristic of 'Crazy Train' and 'Mr. Crowley'. Usually run through a 4x12 cab with Celestion G12-65s.

Used through Quiet Riot and early touring — the 100W version for larger stages before settling on the 50W for its superior overdrive character.

Phase 90 for subtle modulation on clean passages and to add movement to sustained notes. Set at medium speed — not the deep warble of Hendrix but a more refined shimmer. Heard on 'Dee' and several clean intro passages.

Used as a mild lead boost into the already-driven JMP — the Distortion+ adds clarity and compression to the top end of solos rather than increasing gain significantly. Set at low distortion, full output.

Used selectively — Randy was not a wah-heavy player but deployed it for specific dramatic passages. The wah appears sparingly on live recordings.

CE-1 for chorus depth on some clean rhythm parts — adds a three-dimensional shimmer to the Les Paul rhythm tones.

Unique to this artist in the database