RANDY RHOADS ~ BELIEVER ~ Ozzy ~ Guitar Tab | Lesson | Cover | Tutorial

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Randy executes sharp edge precision on the rhythm guitar parts to Believer. From a haunting main riff, to a galloping verse, which combines steady palm muted lows and a fluent, ascending melody, yet maintains the perfect balance of heavy metal guitar playing. Later we see a mellow half time section, incorporating more of Randy’s classical influences, then back to a chugging heavy rhythm which brings us to a searing lead guitar solo that combines blues and classical scales, ending with an ascending scale run from the 2nd fret of the low E string, to the 10th fret of the high E, then back again for a deep ending.

Phrase By Phrase - Randy Rhoads w Ozzy Osborne

Dedicated, with my deepest respect, in memory of Randy Rhoads.

Intro

Welcome to the Phrase By Phrase Guitar Method. In this installment, we take a look at the guitar style of Randy Rhoads. My name is Mark John Sternal, and it is an honor for me to be a part of this issue of the Phrase By Phrase Guitar Method.

In preparation for this video, I researched several different recordings with the intent of giving a well rounded lesson plan that would cover all of the aspects of Randy’s guitar style. In addition to the original albums and the live Tribute album, my main source of reference were the 2011 remastered versions of Blizzard Of Ozz: Expanded Edition and Diary of a Madman: Legacy Edition. These recently remastered CDs have much clearer guitar tracks than previous releases, and in some cases they include sections which Randy played differently on an overdubbed guitar track.
In addition to these recordings, I conducted many hours of research watching Randy perform at very close range on video footage from the early 1980s. To the best of my knowledge, this live video is called After Hours, and was originally filmed as a live television performance.

Randy’s Guitar Tone
Randy’s guitar tone was very distinct and recognizable. Given the chance to play through his gear, most guitar players would be hard pressed to even come close to sounding like him. In the studio, Randy recorded multiple layers of the same guitar parts, often playing the same riff note for note, and in perfect time, making it very difficult to tell there was more than one guitar being played. Other times, Randy would intentionally layer slightly different guitar parts, adding to the thickness and depth of the guitar tracks. For this reason, these lessons will show you several examples of the chord shapes and lead runs Randy favored, both live and in the studio.
It’s no secret that Randy played Marshall amplifiers with a handful of effects. As a Phrase By Phrase tradition, here I’ll show you how you can get a similar tone using just basic effects pedals.

Distortion
For our general tone setting, we are going to use a Carl Martin Plexitone distortion pedal.
The boost feature is not used. Level is set to 9 o’clock, tone is just past 3 oclock, high gain is between 1 and 2 oclock, and crunch is set to 11 oclock.
I’m engaging the select and drive buttons.

Chorus
Next in line is the Classic Chorus, where I have Rate all the way up, Speed to 9 oclock, depth is just past 11 oclock, and level is at 9 0 clock...

Delay
The third pedal is an echotone delay, with Echo set just past 10 oclock...
Feedback set between 1 and 2 oclock... Tone is all the way down...
And Time is set to 3 oclock...

Randy used other effects like a wah and flanger, but for our general tone, these 3 pedals should do it.

If you’re running into an amp, or an EQ, Set bass between 11 and 1 oclock, mid range between 1 and 3 oclock and treble to 2 to 3 o clock.

Guitars
Polka Dot Flying V - Standard Tuning
For the lessons that are in standard tuning, I’ll be playing this Polka Dot Flying V guitar courtesy of Cool Custom Guitars. When using this guitar, we will always be in the bridge pickup position. In fact, Randy often, if not always, had the volume and tone completely off in the neck position... Allowing him to toggle the pickups on and off during rhythm and lead sections as a sound effect...

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