Definitely. That stuff came out when I was a little kid, before I even knew what a guitar was. I always liked Blizzard and Diary, my dad had the records but I was never huge into it and never cared to learn anything more than the opening riff until now. Trying to learn everything really puts it into perspective.
Im kind of with Dstroud or Speeddemon. He had to have used a floyd or it was something in the studio. I have tried this a few times now and when Randy comes back up it does not resolve naturally on any fret. Neither whole step or half step match so idk. Its definitely something mentioned in this thread but I just dont know what.
Prebend tapping
Floyd rose
Studio trick
2nd take altering the sound
I guess for my intents and purposes not having a floyd I am going to have to learn the prebend tap to make it work. I have not tried to learn a cover in a long time unfortunately. Ive spent years writing my own or when i practice just practicing scales or random riffing so it's a bit difficult.
Makes me wish i spent more time learning other people's music.
When BoO and DoaMM were recorded only a small handful of players had access to Floyd Rose and those were prototypes units (EVH, Neal Schon).
His Sandoval V (polka dot) had a VTrem.
His Les Paul was a hard tail.
His Jackson Concorde had a VTrem (Delivered after tracking of BoO)
The black Jackson V was a hard tail (Delivered immediately before start of DoaMM tour and mere months before his passing).
There are reports that there was a Strat with a VTrem in the studio for the recording of BoO.
Floyds started appearing on production Kramers around ‘82. Kramer had an exclusive and you had to “sacrifice“ a Kramer to get a Floyd to put on another brand.
Randys first Floyd’d guitar was being built by Jackson at the time of his passing. The guitar was not finished and was sold to a collector who years later finished it… with a VTrem.
So Rhoads did have access to up to 2 guitars with VTrems when Crazy Train was recorded.
Live videos also show Rhoads playing Crazy Train on his hardtail Les Paul.
As for how to play this part, there is multi-tracking with at least two dubs panned left and right. Listen to the recording panned to hear the different parts. For me it became a question not of how he played it, but how to replicate what you hear on the recording.
I use a minor 3rd trill. I have used two techniques to produce the pitch changes: lowering and raising via the tremolo and by moving the trill chromatically down and up the neck.
I find that I can get closer by moving the trill chromatrically:
There are slight variations in the meter of the riff. It was very challenging to get this sounding right. Tried the pre-bend with pick taps that tabs call for…. never got it sounding right.
I also chose the ”moving trill” based on listening to live versions of Rhoads playing the solo. It really sound like a chromatic trill to me.
Now the real question: do you play the break out of the verse right? None of the tabs you will find have it right (that I have seen anyway). Rhoads did an interview where he told us exactly how to play it: chordal inversions with the 3rd played ”in the bass” (i.e. on the 6th string
