How To Get Authentic Randy Rhoads Tone

We are talking 'Studio tone' correct? Live isolated tone was meh like most of the 80's guys., and I'm and '80's guy'
Just an observation the post production JCM 800 is not the same as live. Case in point listen to the Scorpions live at the US festival versus their recordings which is somne of the best Marshall tone ever recored up their with Out of the cellar and early VH -in it's own flavor.

Just saying! :m4:
 
So really that Distortion + is a small part of the sound and can be replicated by anything close enough as long as you have the speaker. I run an EQ into a DOD grey spec into Marshall and it is already very close to my ears. The speaker is what is def missing though. I know the MXR adds some teeth to the sound but that altec IS the sound really.
Anything that has that hair to it. That clip I posted was a Fender S.S. Stereo chorus loaded with 2 Altecs with no pedals. The D+ just added to what was already there from the Marshalls and the speakers. You obviously dont want a pedal that is dark or heavy mid cut.
 
Yeah, the overall tone is sum-of-the wholes, so unless you have everything....EVERYTHING, you'll have something in the vacinity, but you will never have the correct tone and fuzz and glassiness and ghosts notes....gotta have the COMPLETE rig guys.

Yeah, it's amazing the DOD 250 is close to D+, but COMPLETELY different and not even close tonally! The DOD is more of a clean boost OD and D+ is a dirty fuzz distortion. The D+ is sort of a one-trick-pony as like I said, it's design is flawed in that changing the Gain acts like an R-C circuit and rolls off frequency depending on where set! It only opens up all frequencies when turned up almost to full! Anything lower and sounds like crap and honky and too much bass, but a large part of his tone to get the "Fizz" effect on top of the added gain.

It's funny that Randy's cascaded amp design fed the normal (bass) channel into the bright channel. Guitar amps typically and unless designed for it, sound like shit when too much bass is passed in the early stages and with Randy's that 820R and 330uF cap! He compensated by rolling off bass on the amp (set to "2") as well as EQ'd out. The speakers add a lot of sparkle and high end, but again, rolled off up front with EQ. If you play an amp thru speakers without EQing...it's gonna be nails on chaulkboard bright! Great for cutting thru a mix, but needs to be tamed and use of EQ is brilliant is voicing it.

Yeah, of course, I'll post good clips as time permits. Right now, I've just been demoing it and taking up to Open Mics and letting others get some time on it. I may let a friend in #1 Ozzy tribute (Crazy Babies) take it on the road for an even more authentic stage show. I've had more than one person hit me up to purchase it and told them, I just built the damn thing, let me put some miles on it, so not for sale, to which their feedback was "everyone has a price"! I'll probably be making a coupe for select people and who want to lay down some cash. There is a lot into it to get the correct old 1978-1980 pedals, pedalboard, custom looper/switcher, custom road case. Something like $4-5k in, so with labor and all...would probably need $10k to make it worth my time, fyi.

As far as what Randy used and when used Altecs....he used a Peavey Standard with Quiet Riot run into an Ampeg cabinet. Not sure what speakers, but don't believe Altecs (could be wrong, can't tell in YouTube live clips). Probably whatever Ampeg used?!?? He got the white cabinets built in late 1979/early 1980 and fitted with Altecs. I know only they suggest Pete "Pedalboard" Holmes built the unit in 1975, but I don't think that is correct (could be wrong). I don't think Randy had and used the pedalboard with Quiet Riot and wasn't until Ozzy he had it built. I think Bob Daisley pointed out the timeframe in For Facts Sake as well as cost, which was like 1100 pounds at the time! It wouldn't make sense the pedalboard being built in 1975 because uses the D+ and that wasn't made until 1979. Likewise, this makes sense of why Randy used Altecs in the white cabs, because in the recordings he said Celestion's sounded like shit when you ran a fuzz thru them, which the D+ is a fuzz/distortion! pedal

His live tone was great. His studio tone was processed, so not representative of his live tone, BUT since using the delay harmonizer and getting that "Halo" effect....makes sense why live he used the Chorus basically simulating that chorus and glassiness effect live, but again.....with better tone and without being over processed.

I have an additional Altec 417-8H, so I created a mini-Rhoads half stack! It has a 1x12 custom cab with the Altec in it and the amp is just a 1-input cascaded circuit. I put Randy's picture on the FRONT as well as added an FX loop on the back. It has Gain I and Gain II for still mixing between bass and bright gain stages (with 4.7n bright cap), but unlike the original, uses a post-TS master volume and I added a defeatable zero loss HV FX loop to it for some diversity! It is a 50-watt version with a pair of EL34's. The cabinet builder actually built it similar to the Tribute head and JCM800-style thick sides and top cabinet instead of Plexi, arrr, but whatever I should have been more specific and can always take the chassis out and put in a new enclosure.

Hope this explains some thing and enjoy!
 

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Attached is some photos of Randy's actual amp and cabinet with the back removed that the Marshall guys took.

Danny Thomas when responding if anything different in Randy's amp and he said just the cascaded mod Phil did, but "one resistor that had been moved". From the gut shots of the amp, I circled the resistor he must have been talking about!

As you can see, all Altecs in the white cabinets were Series II 417-8H and 1979 a couple cabinets were made and the other 4 in 1980 according to Steven Rosen and Andrew Klein's book, which is a MUST read.
 

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That pic I caught of Randy with a MXR D+ scripted and settings from Reflections of a Guitar Icon, fyi.
 

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As far as what Randy used and when used Altecs....he used a Peavey Standard with Quiet Riot run into an Ampeg cabinet. Not sure what speakers, but don't believe Altecs (could be wrong, can't tell in YouTube live clips). Probably whatever Ampeg used?!?? He got the white cabinets built in late 1979/early 1980 and fitted with Altecs. I know only they suggest Pete "Pedalboard" Holmes built the unit in 1975, but I don't think that is correct (could be wrong). I don't think Randy had and used the pedalboard with Quiet Riot and wasn't until Ozzy he had it built. I think Bob Daisley pointed out the timeframe in For Facts Sake as well as cost, which was like 1100 pounds at the time! It wouldn't make sense the pedalboard being built in 1975 because uses the D+ and that wasn't made until 1979. Likewise, this makes sense of why Randy used Altecs in the white cabs, because in the recordings he said Celestion's sounded like shit when you ran a fuzz thru them, which the D+ is a fuzz/distortion! pedal

His live tone was great. His studio tone was processed, so not representative of his live tone, BUT since using the delay harmonizer and getting that "Halo" effect....makes sense why live he used the Chorus basically simulating that chorus and glassiness effect live, but again.....with better tone and without being over processed.

I have an additional Altec 417-8H, so I created a mini-Rhoads half stack! It has a 1x12 custom cab with the Altec in it and the amp is just a 1-input cascaded circuit. I put Randy's picture on the FRONT as well as added an FX loop on the back. It has Gain I and Gain II for still mixing between bass and bright gain stages (with 4.7n bright cap), but unlike the original, uses a post-TS master volume and I added a defeatable zero loss HV FX loop to it for some diversity! It is a 50-watt version with a pair of EL34's. The cabinet builder actually built it similar to the Tribute head and JCM800-style thick sides and top cabinet instead of Plexi, arrr, but whatever I should have been more specific and can always take the chassis out and put in a new enclosure.

Hope this explains some thing and enjoy!
Aahhh.. so that makes sense. The older Ampeg cabs (V4) came stock with Altecs! I remember watching a video of Kevins bday at the Whiskey {I think, this was like late eighties-early 90s} and you can hear those speakers clearly, especially with his solo spot. Not sure how he wound up with Series II but if the response is the same then so be it. Pics dont lie. LOL Matter of fact I still have an old beat up empty V4 that I pulled the speakers out of.
You are right about his live tone, though I always felt it was never captured properly. A buddy of mine had actually watched, or more like heard, Randy doing his soundcheck in Asbury Park. Venue doors were open but inside was locked. This guy was a Randy nut also and he was blown away by the sound of just the guitar in the place.
 
Yeah, the overall tone is sum-of-the wholes, so unless you have everything....EVERYTHING, you'll have something in the vacinity, but you will never have the correct tone and fuzz and glassiness and ghosts notes....gotta have the COMPLETE rig guys.

Yeah, it's amazing the DOD 250 is close to D+, but COMPLETELY different and not even close tonally! The DOD is more of a clean boost OD and D+ is a dirty fuzz distortion. The D+ is sort of a one-trick-pony as like I said, it's design is flawed in that changing the Gain acts like an R-C circuit and rolls off frequency depending on where set! It only opens up all frequencies when turned up almost to full! Anything lower and sounds like crap and honky and too much bass, but a large part of his tone to get the "Fizz" effect on top of the added gain.

It's funny that Randy's cascaded amp design fed the normal (bass) channel into the bright channel. Guitar amps typically and unless designed for it, sound like shit when too much bass is passed in the early stages and with Randy's that 820R and 330uF cap! He compensated by rolling off bass on the amp (set to "2") as well as EQ'd out. The speakers add a lot of sparkle and high end, but again, rolled off up front with EQ. If you play an amp thru speakers without EQing...it's gonna be nails on chaulkboard bright! Great for cutting thru a mix, but needs to be tamed and use of EQ is brilliant is voicing it.

Yeah, of course, I'll post good clips as time permits. Right now, I've just been demoing it and taking up to Open Mics and letting others get some time on it. I may let a friend in #1 Ozzy tribute (Crazy Babies) take it on the road for an even more authentic stage show. I've had more than one person hit me up to purchase it and told them, I just built the damn thing, let me put some miles on it, so not for sale, to which their feedback was "everyone has a price"! I'll probably be making a coupe for select people and who want to lay down some cash. There is a lot into it to get the correct old 1978-1980 pedals, pedalboard, custom looper/switcher, custom road case. Something like $4-5k in, so with labor and all...would probably need $10k to make it worth my time, fyi.

As far as what Randy used and when used Altecs....he used a Peavey Standard with Quiet Riot run into an Ampeg cabinet. Not sure what speakers, but don't believe Altecs (could be wrong, can't tell in YouTube live clips). Probably whatever Ampeg used?!?? He got the white cabinets built in late 1979/early 1980 and fitted with Altecs. I know only they suggest Pete "Pedalboard" Holmes built the unit in 1975, but I don't think that is correct (could be wrong). I don't think Randy had and used the pedalboard with Quiet Riot and wasn't until Ozzy he had it built. I think Bob Daisley pointed out the timeframe in For Facts Sake as well as cost, which was like 1100 pounds at the time! It wouldn't make sense the pedalboard being built in 1975 because uses the D+ and that wasn't made until 1979. Likewise, this makes sense of why Randy used Altecs in the white cabs, because in the recordings he said Celestion's sounded like shit when you ran a fuzz thru them, which the D+ is a fuzz/distortion! pedal

His live tone was great. His studio tone was processed, so not representative of his live tone, BUT since using the delay harmonizer and getting that "Halo" effect....makes sense why live he used the Chorus basically simulating that chorus and glassiness effect live, but again.....with better tone and without being over processed.

I have an additional Altec 417-8H, so I created a mini-Rhoads half stack! It has a 1x12 custom cab with the Altec in it and the amp is just a 1-input cascaded circuit. I put Randy's picture on the FRONT as well as added an FX loop on the back. It has Gain I and Gain II for still mixing between bass and bright gain stages (with 4.7n bright cap), but unlike the original, uses a post-TS master volume and I added a defeatable zero loss HV FX loop to it for some diversity! It is a 50-watt version with a pair of EL34's. The cabinet builder actually built it similar to the Tribute head and JCM800-style thick sides and top cabinet instead of Plexi, arrr, but whatever I should have been more specific and can always take the chassis out and put in a new enclosure.

Hope this explains some thing and enjoy!

Great post thanks for clarifying and adding useful info. If anything you might just be able to sell the board and have people plug in their own pedals. But I get it, it is a ton of time and work to craft these and wire them up. The D+ that was for sale near me is gone unfortunately but I think i might just grab a clone.. that or use my MArshall governor, seems to have the grind to it but maybe not enough gritty top end. Ultimately, i might need to look into an altec for fun.
 
I'm amazed that some of you manage to get unity gain out of a vintage D+ with the level at 11 'o clock.

I got an early 80's one, pre-Dunlop, and I have to crank the Level to 2 'o clock, almost 3, to get to unity.
 
Aahhh.. so that makes sense. The older Ampeg cabs (V4) came stock with Altecs! I remember watching a video of Kevins bday at the Whiskey {I think, this was like late eighties-early 90s} and you can hear those speakers clearly, especially with his solo spot. Not sure how he wound up with Series II but if the response is the same then so be it. Pics dont lie. LOL Matter of fact I still have an old beat up empty V4 that I pulled the speakers out of.
You are right about his live tone, though I always felt it was never captured properly. A buddy of mine had actually watched, or more like heard, Randy doing his soundcheck in Asbury Park. Venue doors were open but inside was locked. This guy was a Randy nut also and he was blown away by the sound of just the guitar in the place.
Yeah, when Randy had the 6 cabinets made, he asked for Altecs to be in them and since 2 were made in 1979 and the other 4 in 1980, Series II were readily availble.

Yep, pics don't lie!

Yeah, a PA guy can make or break a guitar play and band. The larger the venue and more pro PA guy, usually will do you justice.

Yeah, I have a Series I and 5 Series II's and sonically, I heard no difference and the characteristics in the Series II I heard in the Series I....just that isn't what Randy used, at least with Ozzy. If the Ampegs came with Altec, there you go. I wasnt sure, but now that you mention it, I think I remember seeing old photos of Quiet Riot playing and yeah, you could see the silver cone caps, so yep, always a give away as old Altecs!
 
I'm amazed that some of you manage to get unity gain out of a vintage D+ with the level at 11 'o clock.

I got an early 80's one, pre-Dunlop, and I have to crank the Level to 2 'o clock, almost 3, to get to unity.Yep.
Yeah, it's true. I actually have TWO sets of Randy's vintage pedals (one in the pedalboard and one loose). One D+ is dated by the pots at 1978 and 1979 pots. The other is 1980. Yes, the volume level you have to turn it up to get unity, so sure. Not sure the newer ones as I don't use them. The originals had 1N270 diodes in them.

You know what thou....I just remembered I twisted up a clone D+. Have to check it out as far as levels, but need to reference the pots also as the values changed I believe and I'm not sure if I used a modern value or the originals, in which case, I probably have to crank it. I'll have to pull that pedal out.
 
I may be one of the few but I liked Randy's studio tone far far more than his live tone even though highly processed . I hated the Tribute albums live tone.
 
I may be one of the few but I liked Randy's studio tone far far more than his live tone even though highly processed . I hated the Tribute albums live tone.
I'm the exact opposite dude....which even the live tone has tons of studio shit applied to it I'm sure.
 
yes. I was shocked when I heard first heard it back in the day. Just so massive sounding to me.....
There was always that certain scream on the higher notes during his leads that just cut so fantastically live. Having said that, I still remember my jaw dropping hearing the solo to Mr. Crowley. That first blues lick he does was HUGE!!! triple tracked, but still I had never heard a lead sound so big before.
 
I'm the exact opposite dude....which even the live tone has tons of studio shit applied to it I'm sure.
Live tone slays his studio tone but Tribute was eq'd with all the bright top end added to it. You can hear the original recordings of the shows they took the bulk of the material from and THAT is his real tone captured at the board with whatever eq they applied to it there. Totally different beast. It grinds and cuts but also has a thicker quality to it. Massive sounding with the chorus.
 
Live tone slays his studio tone but Tribute was eq'd with all the bright top end added to it. You can hear the original recordings of the shows they took the bulk of the material from and THAT is his real tone captured at the board with whatever eq they applied to it there. Totally different beast. It grinds and cuts but also has a thicker quality to it. Massive sounding with the chorus.
That's exactly it....neither studio nor live really captures the tone of the original rig because even live tone, the PA guy is adjusting things, adding things, to the way THEY like it, not necessarily representative of the raw dry tone and can make or break the guitar player or band in the aggregate!
 
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