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lead guitar from “crazy train” by ozzy osbourne | ToneDB

crazy train

ozzy osbourne

lead guitar

90% ai confidence

Tone Profile

A searing, high-gain Marshall tone defined by its articulate pick attack, scooped midrange, and a distinctive 'jet plane' flanger swoosh. The sound is made massive by meticulous double-tracking, creating an iconic and aggressive lead voice.

Signal Chain

Instrument: Karl Sandoval "Polka Dot V" (DiMarzio Super Distortion bridge pickup)

Amp: Marshall 1959 Super Lead 100W head with Marshall 4x12 cabinets (Celestion G12M Greenback or G12H30 speakers)

Microphone: Shure SM57 (close-mic'd)

Processing: Dunlop Cry Baby Wah, MXR Distortion+, MXR 10-Band EQ, MXR Flanger, Roland RE-201 Space Echo

Other: Solo meticulously double-tracked. Distortion+ used as a boost (gain low, volume high). EQ used for mid-scoop and high/low boost. Flanger set for slow, deep sweep. Space Echo for delay (approx. 300-380ms) and spring reverb. Amp run loud.

Recording Notes

  • Recorded for the "Blizzard of Ozz" album (1980) at Ridge Farm Studio, Rusper, England.
  • Engineered and co-produced by Max Norman.
  • The main solo was famously double-tracked by Randy Rhoads, with slight performance variations enhancing the width and character.
  • Randy's pedalboard was custom made by Pete Holmes, and he used his effects strategically into the front end of the Marshall amps.
  • The 'jet plane' sound is primarily from the MXR Flanger, with specific settings contributing to the iconic swoosh.

Recreation Tips

  • Use a guitar with a high-output bridge humbucker (e.g., DiMarzio Super Distortion or Seymour Duncan JB).
  • A Marshall Plexi or JCM800-style amp (or modeler) is crucial. Push the preamp tubes hard.
  • Use an MXR Distortion+ (or similar OD like a Boss SD-1) as a boost: gain low/off, level high, into the overdriven amp.
  • Employ an MXR Flanger with a slow rate, wide depth, and high regeneration/feedback for the signature "swoosh."
  • Meticulously double-track the lead part. Pan one track slightly left (e.g., -15 to -25 L) and the other slightly right (e.g., +15 to +25 R).
  • Add a tape-style delay (around 300-380ms, 1-2 repeats, mix to taste) and a touch of spring or plate reverb.
  • Use an EQ pedal (or plugin) to scoop the mids (around 500-800Hz) and possibly boost highs for clarity and lows for punch.

Sources