AC/DC’s “For Those About To Rock (Album Compilation of Covers)”, The Schaffer Replica™ Series (SoloDallas covers)

05 Jan AC/DC’s “For Those About To Rock (Album Compilation of Covers)”, The Schaffer Replica™ Series (SoloDallas covers)

I am going to try and compile here – this time – the covers that refer to For Those About To Rock.

Just for ease of access really, and to try and keep what I write in a sole place so that you don’t have to go picking up stuff around in bits and pieces.

NOT that I think what I have to say is SO important after all. So the big chunk I am going to say it right after the first three covers. Enjoy.

So now that we have them posted, I’ll tell you what I know.

We know that the guitars were recorded with SM57s. This we know because it’s written in that book – AC/DC In The Studio – that we mentioned several times. For people like us, willing to match sounds as much as possible with given resources, it’s important.

So I have used both of my SM57s, the contemporary one and the Unidyne III, the vintage SM57 made in the USA.

Frankly, the Unidyne III sounds SO much better that I try and use it as THE main microphone when two SM57s are involved, as in this case. So I coupled them both together (to avoid phase cancellation) but I positioned the Unidyne where I wanted the sound, the other one was just randomly next to it.  Still, it helped thicken the sound some. I must also tell you that it didn’t take much for both sounds types in both songs (C.O.D and Let’s Get It Up) to sort of match my sounds to what’s on the album. Not that I think I “did it” and you won’t notice the difference. There is still difference. But I was sort of content. For these two songs, I am certain that the case here is 1959 Super Lead (Angus). I played Let’s Get It Up with the TSR™ at all times, because it helped me fatten up the sound; since the whole album was played in a large rehearsal room, via a mobile studio, I figured that Angus may as well have used the Schaffer-Vega Diversity (SVDS) to record even the rhythm parts. At least, sometimes? Additionally, the guitar in the centre – and there IS one on Let’s Get It Up – we know was always played with the SVDS, so… it’s still appropriate.

 

This is an update as of early January 2014. Opposite to what I thought I knew up there, is a new certainty that instead, For Those About To Rock – the whole album – was pretty much played in the following conditions (Angus):

 

Rhythm tracks, always 2203

Solo tracks – at least the most of them, a 50 watts head amp with the SVDS. Surprisingly, settings should be relatively clean. The tone of the FTATR leads is definitely clean(er). A sort of trend probably started in the previous album (Back in Black) continues here and way forward in subsequent years. It probably seemed to them that cleaner lead tones were cutting through better and were definitely fatter (they were, especially thanks to the SVDS compressor). So The volume of such 50 watts Marshall head could be around 4 or 5; maybe even 6. You try. Used here (on all the above solos) was my 1973 Marshall Model 1987. I simply love how the TSR® makes this amp sound.

Speakers type: in my opinion, having tried much so far, it seems to me that rhythm was played with G12-65s and leads with G12Ms. Could be all on G12Ms for what we know, but I was able to match finely with G12-65s. Reason probably was that the G12-65s keep well the high pressure of a 100 watts amp and its headroom. Additionally, they are darker than G12Ms, and especially for rhythm, one is going to soften the highs on rhythm sections from within the console anyways. Microphones will add some treble spark so very often that it is just taken away. G12-65s may be suitable specifically because they are not as bright as G12Ms.

Few to no doubts instead are left for soloing on G12Ms (a trend that probably continued on to present day for Angus). They just cut through better. There is  – now – no doubt. I have tried countless times to EQ some solos played with G12-65s having slightly a hard(er) time, though still always using the rest of the gear I have as you know. When I switched to G12Ms, it was almost instant-easy match. There is a gutsy character to G12Ms, scorching mids ‘n’ highs. Hardly swappable for something else or messing around at the post production console. G12Ms were them! The G12Ms used in these recordings are true late 1970s G12Ms, as I think were used by the band in those years. Cabinet is a re-issue Marshall of the early 2000s.

 

Additionally, as our close contributor and friend currentpeak has found here on wikipedia,

 “AC/DCs “Back in Black” , “For Those About To Rock” and many Queen, Led Zeppelin, and other rock albums were recorded on the Harrison-designed MCI consoles

Which should be kept in mind when post-producing the songs from this album (for example, an MCI had a 4 band EQ in the style of SSL 4000 consoles, good hint to try and post EQ such songs once recorded!).

Making Solo Sounds.

Making Solo Sounds.

Article in Development – please check back.

avatar
Fil "SoloDallas" Olivieri
sd@solodallas.com

I like Geetars!

16 Comments
  • avatar
    BONA
    Posted at 18:33h, 02 May

    Hello,
    I am happy to join fans of acdc
    I am a fan of acdc since 1980.
    I saw acdc in concert in MARSEILLE and PARIS in 2009
    I collect ampli Marshall and SG GIBSON
    I live in FRANCE

  • avatar
    powersurge
    Posted at 02:46h, 19 January

    Here are more pics i have uploaded to acdcbootlegs.com. there is also a 8mm film footage from the show.

    http://www.acdc-bootlegs.com/concerthistory/?gig=353

    video
    httpv://www.youtube.com/watch?v=p3IYG5_x1zw

  • avatar
    Dries
    Posted at 18:29h, 10 January

    A kind of rare picture for you all :) , Angus’ first night with the SVDS

    • avatar
      banane
      Posted at 20:17h, 10 January

      Great finding again Dries! Where do you dig out all these great SVDS snapshots? :)

    • avatar
      Chris Moiny
      Posted at 20:45h, 10 January

      this is awesome !

    • avatar
      SoloDallas
      Posted at 21:58h, 10 January

      Dries – thanks brother. Sending it to Mr. Schaffer (if he hasn’t seen it here already). GREAT!

  • avatar
    Angusrocks101
    Posted at 00:07h, 01 December

    Fil great playing as always. Let’s Get It Up really is a classic. On another note so is your ’76 1959. I think a lot of people would like to see a schematic of it. It’s really got the AC/DC thing going on. You may could even partner with Metro or some boutique builder of the likes and have a replica of your 1959 as well. Many super leads of that era vary in tone but yours is IT. Well just an idea .

  • avatar
    lautmaschine
    Posted at 15:29h, 29 November

    Sounds great, Fil. Schaffer on makes sense – I think I can hear the hiss on the album. I see your tone control is rolled down a bit on Let’s Get it Up. I assume you’ll be posting settings soon :)

    I’m also wondering about pickup height. I just installed an early T-top patent sticker pickup into my 2008 SG and am starting to play around with pickup height and settings. Thanks!

  • avatar
    jjRocker
    Posted at 13:40h, 26 November

    “Let´s Get It Up” sounds great ! I´ve compared it with the original (remastered) song and I can´t say which is better.
    Unfortunatly “C.O.D.” is blocked by youtube :-(
    It would be great to have a download link for C.O.D.
    And please more stuff from FTATR
    As ALWAYS awesome playing !!!

  • avatar
    Johnny
    Posted at 01:53h, 23 November

    wow fil, fantasic :)

  • avatar
    AngusRudd1019
    Posted at 19:28h, 22 November

    Next on the list, “INJECT THE VENOM”?!??!?!?!

  • avatar
    lapata19
    Posted at 18:31h, 22 November

    fil you said in an article that post 1971 Sg’s didn’t interested you . is the non trapezoid inlays guitar shown on picture a 1971? and does it sound good?

    • avatar
      SoloDallas
      Posted at 19:18h, 22 November

      Yes, it’s a 1972 Deluxe. I was so wrong about the Norlins, but I should clarify. The Norlins didn’t probably interest me in my original quest for Angus Young’s tone (and I was wrong there too) but they did interest me as player guitars. I have several Norlins in fact, and I love ’em all.
      Now, time surely has helped these guitars sound better, it always will. I do like 1970s Gibsons.

    • avatar
      lautmaschine
      Posted at 06:21h, 23 November

      One thing about those Norlins is they started started to change their electronics, moving from 500k pots on the volume and tone to 300k pots. That reduces the brightness by a fair margin. I often wondered if that’s one of the reasons people don’t like them as much.

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