Ventura
Well-known member
That's "Rhoads", Good Sir... Ahem.
rlord1974
Active member
rupe":2gwj4a1y said:
Ummmmmmmmmmmm.....................................................
NO!
Disclaimer: This is not a commentary on their respective talent, purely the vertical strips (Eddie) vs. the polka dots (Randy).
R
rev156
Member
I just gotta say that I really like the vibe you have on RT. I've been reading here for a while, not posting because as a learning player (at 43) and not so much into heavy metal, I don't have a lot to say. However, It's very refreshing to read opinions and for the most part, members don't take differences personally. There's nothing as subjective as music and more so TONE.
Props to RT members!
Cheers
Props to RT members!
Cheers
Shawn Lutz
New member
I think really considering an rookie producer it didn't come out too bad. Randy knew what he heard in his head and what he wanted to lay down for the songs. it was up to the engineers, producer / mixers to re-create that. Who knows if they did or didn't do it right but both of those albums are classics and I focus on the playing and tracking more so that the guitar tone .
How many of us made killer recordings the first couple times we dicked with a multi-tracker? I'm willing to bet every one of the first few recordings sounded like ass but every one after that got better and better the more you learned and experienced with it. I know from my perspective my mixes sounded like shit when I first started with the old Fostex 4 tracker the first few times.
Randy Rhoads was the guy who did for wanting to improve as a player when I was a high school kid. I love all of his work on those two albums. As someone mentioned no one at the time said his tone sucked even tough today I don't over analyze it too much for it is still classic stuff. I learned so much from them. Primarily double and triple tracking solos and panning them in the mix to sound larger than life There is a lot of stuff going on in those mixes with embellishments, rhythms and overtracking. Breaking all that down really helps one understand the building, recording and mixing art.
How many of us made killer recordings the first couple times we dicked with a multi-tracker? I'm willing to bet every one of the first few recordings sounded like ass but every one after that got better and better the more you learned and experienced with it. I know from my perspective my mixes sounded like shit when I first started with the old Fostex 4 tracker the first few times.
Randy Rhoads was the guy who did for wanting to improve as a player when I was a high school kid. I love all of his work on those two albums. As someone mentioned no one at the time said his tone sucked
even tough today I don't over analyze it too much for it is still classic stuff. I learned so much from them. Primarily double and triple tracking solos and panning them in the mix to sound larger than life There is a lot of stuff going on in those mixes with embellishments, rhythms and overtracking. Breaking all that down really helps one understand the building, recording and mixing art.
A
Allterr
New member
You people are on drugs. Rhodes' tone on his 2 albums were legendary, and probably one of the most recreated tones in classic hard rock.
T
Thunkful
Banned
Member
Shitty production. Producers absolutely massacred Randy's tone on the first album at least.
His live tone is crushing, listen to this!
https://www.dailymotion.com/video/x94ezb
His live tone is crushing, listen to this!
https://www.dailymotion.com/video/x94ezb
lll
Banned
Well-known member
Things were done in the studio - triple tracked, AMS Delay, etc...
But really, when "Crazy Train" first came on the radio back in the beginning of the 80s, those of us who were around then and old enough were blown away by the tone and playing.
And I guarantee you no one... no one said, "that dude's tone SUCKS!".
It's a unique tone, and it works great for soloing, too.
https://soundcloud.com/lefty-lounge-lizard/lll-rhoads-test-gtr
But really, when "Crazy Train" first came on the radio back in the beginning of the 80s, those of us who were around then and old enough were blown away by the tone and playing.
And I guarantee you no one... no one said, "that dude's tone SUCKS!".
It's a unique tone, and it works great for soloing, too.
https://soundcloud.com/lefty-lounge-lizard/lll-rhoads-test-gtr
sytharnia1560
Well-known member
Allterr":pbca5ubk said:
and 8 year Dredge and you still spell his frikken name wrong FFS
sytharnia1560
Well-known member
lll":2rscb017 said:
100% correct
G
Goat
Banned
New member
You need to listen to those recordings on authentic analog. I'm talking about the original tape and/or vinyl recordings, not a "Digalog" remaster. You'll need to source them on ebay. The digital remasters are awful sounding.
Beyond Black
Well-known member
I third that. Bunch of nonsense. There was nothing wrong with his rhythm tones and his leads sounded massive. Rhoads was nothing short of mindblowing back then on all fronts.sytharnia1560":q242w7ob said:
J
JimAnsell
Well-known member
AmpliFIRE":320ag5i5 said:
i does in some ways. among other things, people were doing a helluva lot more blow in 1980 than 2019. Makes for righteousness behind really fucking bad ideas
I've always thought his tone was odd, but i've been hearing it for years, and i'm over it. I can certainly see someone in their 20's listening to old ozzy now, maybe just getting into it, is probably going to go "man, killer playing, but whats with that clock radio distortion?"
thiswaythatway
Well-known member
Allterr":38le1ox2 said:
You're on drugs for digging up an 8 year old thread.
skullfxr
Well-known member
I am a young buck here, born in '90 and have an appreciation for his tone. It's not my favorite tone ever, but it is definitely iconic. His playing was godly. I think a lot of guitarists can play very well and have a solid live tone (obviously i wasn't around then), and have it come out bad on recordings.
I will be honest, I am very skilled with recording. Not my purpose at this point in time, but I ran audio in a church for 2+ years, with the privilege of being taught by a very talented guy, really got the knack for it over time. This was on a 32 track setup with 12+ mics on the drums alone, then everything from electrics to acoustics, basses, and an occasional stray instrument, and four vocals. I can mix well. But it is learned. Another point is that with the technology between then and now being extremely vastly different.
No matter how you slice it, RR was a helluva of a player and icon and blizzard is an iconic record. It paved the way for the future.
I will be honest, I am very skilled with recording. Not my purpose at this point in time, but I ran audio in a church for 2+ years, with the privilege of being taught by a very talented guy, really got the knack for it over time. This was on a 32 track setup with 12+ mics on the drums alone, then everything from electrics to acoustics, basses, and an occasional stray instrument, and four vocals. I can mix well. But it is learned. Another point is that with the technology between then and now being extremely vastly different.
No matter how you slice it, RR was a helluva of a player and icon and blizzard is an iconic record. It paved the way for the future.
jabps
Well-known member
Sad this before, maybe even in this thread. I haven't read all the way through but you have to take into consideration the time period.
The albums were recorded when great tone wasn't one of the main objectives people concentrated on. Sure EVH's tone "became" legendary but I can assure you, at the time not alot of people put much more thought about it other than, that sounds great. The whole tone chasing thing really came into play as the 80's progressed when it became really important for people modding amps and higher gain amps became available. And people were putting more focus on recording techniques and achieving and identifiable sound.
In hindsight, Rhoads tone leaves alot to be desired if you strictly focused on that portion of it but as it was happening I know few people..."at that time" that really ever commented about it. Afterall what we were hearing him play was infinitely more important than the sound.
The albums were recorded when great tone wasn't one of the main objectives people concentrated on. Sure EVH's tone "became" legendary but I can assure you, at the time not alot of people put much more thought about it other than, that sounds great. The whole tone chasing thing really came into play as the 80's progressed when it became really important for people modding amps and higher gain amps became available. And people were putting more focus on recording techniques and achieving and identifiable sound.
In hindsight, Rhoads tone leaves alot to be desired if you strictly focused on that portion of it but as it was happening I know few people..."at that time" that really ever commented about it. Afterall what we were hearing him play was infinitely more important than the sound.
Rock Bodom
Active member
Along the same lines of "it might depend on when you first heard it..."
My intro to Randy was right when Tribute came out. I was just getting into guitar and metal, that album was totally one of my biggest influences to becoming a lead player.
And I remember shortly thereafter picking up the studio albums. I noticed the different sound in Blizzard right away. Production/guitar tone/live vs studio performance...I don't know. It was hard to work backwards towards that one after already hearing the same songs on Tribute. Diary though sounded really good to me...I think it captured Randy much better and obviously the songs were stellar.
All perspective...nothing takes away from Randy's massive influence over the years to players of many different ages. I can see merits in both criticism and defense of his early recorded tone.
My intro to Randy was right when Tribute came out. I was just getting into guitar and metal, that album was totally one of my biggest influences to becoming a lead player.
And I remember shortly thereafter picking up the studio albums. I noticed the different sound in Blizzard right away. Production/guitar tone/live vs studio performance...I don't know. It was hard to work backwards towards that one after already hearing the same songs on Tribute. Diary though sounded really good to me...I think it captured Randy much better and obviously the songs were stellar.
All perspective...nothing takes away from Randy's massive influence over the years to players of many different ages. I can see merits in both criticism and defense of his early recorded tone.
B
Beandust
Well-known member
I guess the real hypothetical question is" what did RR think his tone on BofOZZ sounded like? If his tone as we all seem to agree is the grail* live it seems he would agree as well? Or was he ok with his tone? One would think he wouldn't dig it if it's that obvious is boxy or kind of muffled sounding. Maybe Ozzy knew the world was being introduced to one of the greatest players and writers after he searched and almost tossed in the towel so I read. Maybe he and RR both realized it was big history being made. If I had to guess I'd think RR was disappointed somewhat if he knew his tone wasnt being represented as it should be in that epic album. Hard to say. Nothing like arguing over the unknown. His playing/writing is still hard to beat , but we can argue over his tone cause that's about it. Lol
jabps
Well-known member
For me I stand by the assertion that nobody really cared about it "at that time". I'm an old codger now (55) but I was in HS when it came out and all we cared about was how floored we where to hear another guitar player of that caliber. I mean some guys even divided camps between Ed and Randy.Beandust":2thq8jsm said:
Guys my age weren't sitting around analyzing tones at that time. If anything we all just looked at them as different flavors. In 1980 you had Back n Black, British Steel, Heaven and Hell, Blizzard, Women and Children - Journey, Lizzy, Nugent, Rush...we were just happy to hear rock. From my experience back then, you wanted a Marshall, stomp box and hot pickups (if you could find them)...to try and start "getting" those tones that those players had. Good and bad really didn't come into the equation yet. That was the extent of tone back then, again from my experience. Only after the glut of amazing players that came out did people really start digging into the how and why of getting great tone. And Ed's became the benchmark. And why wouldn't it, he's arguably one of the top 2 most influential guitar players in the history of rock.
Z
zuel69
Active member
It was the way Max Norman recorded Blizzard, I think it's an iconic tone, but to each his own...and right on Jabps.
Spaceboy
Well-known member
because it was the 80s
?
?