As we've seen with the VH1 threads, you can go down a rabbit hole on some of this stuff, and some seem to like spending their time doing that. I just look at what was used, get close with what I've got, "close enough for government work", and play the guitar. Otherwise, where does it stop (what pick does Angus use?, what impedance is his guitar cable?, what was the humidity in the room when they recorded BIB?....).Exactly. And his tone didn’t change noticeably pre to post wireless unit. Wasn’t there a video from Paris in 79 where his wireless goes down and he uses an instrument cable for the rest of the gig ?? Still sounds like Angus. And for those who say the wireless adds gain you just can’t get from the amp, that Paris show would have to be one of the most gained up I’ve ever heard Angus.
I think it's cool when someone is really interested in something and does a deep dive on it. I'm not capable of all that in that VH thread, but it's interesting. Being snide about it is kind of lame.As we've seen with the VH1 threads, you can go down a rabbit hole on some of this stuff, and some seem to like spending their time doing that. I just look at what was used, get close with what I've got, "close enough for government work", and play the guitar. Otherwise, where does it stop (what pick does Angus use?, what impedance is his guitar cable?, what was the humidity in the room when they recorded BIB?....).
Probably 1959’s, maybe a Superbass for Malcolm. Probably Blackback G12M’s but maybe Greenbacks.What do you think which amps and cabs were used on the Dirty Deeds Album?
I think anyone familiar with the sound of classic Marshalls, and is into ACDC tones, has always known there’s something besides the gear going on with the LTBR sound. It’s obvious to me it was a conscious effort by the producers to give it an aggressive, in your face vibe, and you’re not gonna get that just from changing to MV amps or using an un-broken in Blackback.
But once you filter out the influence of the studio, it still sounds like a SG/Gretsch straight into a 4 holer to me.
But I don’t think anyone actually thinks LTBR is any more gainy than anything previous, just that it’s more edgy and aggressive. A more gainy ACDC sound(or any guitar sound) will generally be smoother, which is the opposite of what I hear on LTBR. On the other hand, the Paris video is gainier and smoother than much of their shows from that era. Just listen to how long the chords sustain. That’s a cranked amp and I’d bet money that gain had very little to do with how it was recorded. There’s a huge difference in gain/tone between a 1959/87 on 6 and the same amp on 8-10. The brightcap smooths out after 6 and the OT saturates, as does the power tubes and speakers.Now that dust has settled a bit... my point was just to recall in a light and friendly way that a sound perceived as "gainy" in a recording (live in Paris included) is not necessarily due to the amps alone.
Even a guitar straigth to an amp doesn't obtain quite the same response from its circuit when cable capacitance varies with cable length... To me, that's why Shaffer did add a pre-gain control to his wireless system.
And to come back to BiB: 44 years ago, I played with guitar direct to amp. A couple of times, I've even pushed a NMV stack in my bedroom (!), close to the speakers, in a desparate attempt to favour natural feedback. Volume was deafening, the whole house was shaking... but to my overloaded ears, the sound was less "gainy" and had noticeably less sustain than in the BiB tracks (albeit my LP copy had high gain pickups).
I wish I could come back in time to understand and solve such failed attempts. All I can do is to testify that in MY experience, guitar direct to cranked amp don't necessarily suffice for BiB tracks. Mileages may vary...
English being not my mother tongue, maybe I understand words differently but...But I don’t think anyone actually thinks LTBR is any more gainy than anything previous, just that it’s more edgy and aggressive. A more gainy ACDC sound(or any guitar sound) will generally be smoother, which is the opposite of what I hear on LTBR. On the other hand, the Paris video is gainier and smoother than much of their shows from that era. Just listen to how long the chords sustain. That’s a cranked amp and I’d bet money that gain had very little to do with how it was recorded. There’s a huge difference in gain/tone between a 1959/87 on 6 and the same amp on 8-10. The brightcap smooths out after 6 and the OT saturates, as does the power tubes and speakers.
And younger you cranking up the halfstack and hearing the BIB album as being gainier, is something every young player goes through. How many people here have heard inexperienced players dialing in WAY too much gain for ACDC, or done as much themselves ?? I know I have.
The trick is dont get too hung up on someone elses tone, dial in the best approximation a tone that you like and rock on!I do wonder about pickups I guess. But I don't have a lot of experience there. What year is your 61? Does it have those Gibson 60's Burst Buckers in it? Mine aren't bad actually. It depends on the amp a bit. The pickups I have (OEM lightly potted, reverse wound whatever) are hot but not insane. If I play my guitar tight and hit them hard (without adding in lots of other strings), it def does the trick and doesn't muddy up. Turning the guitar volume down like Angus did for Rhythm helps bring them under control a lot too. For the solo's, cranked....it's a plexi, I've got to be precise or it runs away from me lol. Especially with the Amp cranked without attenuator...it's a whole other rowdy beast standing in front of the little 1965 4x10 lol! Fun tho for sure.
Perhaps contradicting myself earlier. I went and checked out Solo Dallas's Back in Black cover (which is INSANELY good with Tommy in there). They are obviously running their 50w JTM50/EL34 amp...BUT the settings are interesting!!
Presence - freaking 8?!
Bass - 0
Mid - 4
Treble - 9
High Treble (volume) - 6
Using their Sheffer Replica thing too.
Some of you mentioned a lot of presence, maybe that's spot on (for Angus, not sounding like the Band as a whole).
Obviously that JTM50 is a bit warmer than my SV20. I tried those settings (diff amp i know..) but it wasn't half bad! I added in more Bass (2-4) to account for the SV20 not having as much low-end. Interesting tone for sure. I ordered a Storm pedal today too. Should be fun. I shot those guys an email asking for the same thing. I'll see what they say. Fil/Dries are the best there's ever been to covering that tone in BiB. I know they've played with and modded the SV as well.
NM I think I read your comment backwards. Maybe the SC20 is a bit better at those 1977-ish ACDC tones where they used a 2203? I dunno. I've played the SC20 doing a bunch of ACDC riffs. It's a bit different obviously and it didn't hit the same AC/DC spot as the SV.Does the SC20 deliver any interesting 2203 AC/DC sounds the SV20 can‘t do?
What speakers are in this cab?I'm kind of settling on the following (for posterities sake) I think. My chain is pretty darn midrange focused: SG 61>Storm>SV20>1965 and the SV itself is a bit more midrangy than a 1987/1959 (so says Johan at least).
I liked the flavor of the RigRun settings (all on three and 1 presence) but the clarity of some of youtube guys settings (4 bass, 4 mids, 6 treble, 0 presence). With that in mind and the more mid focused amp/cab, I kind of like the following for BiB style. I want the "Donnnk" for that opening BiB Em chord but also the twangy-but sizzling A & D chords along with bite in the solo. I found if I leave in too much mids, they kind of overshadow things.
Settings all 1-10 unless specificed as "o'clock"
Presence - 8 (adds bite and highs)
Bass - 5ish (keeps the lowend hard hitting but not drowning out the highs)
Mids - 3
Treble - 5
Volume - 6 I can go lower but then it looses some balls.
Unjumpered
Storm pedal: gain-3 o'clock, limiter 11 o'clock, output 9 o'clock
Guitar tone: 8ish
OG 1984 Celestion G10L-35 and UK Greenbacks. 4x10"What speakers are in this cab?