AC/DC’s “Gone Shooting” (Studio Version, Schaffer-Vega Diversity System)

14 Oct AC/DC’s “Gone Shooting” (Studio Version, Schaffer-Vega Diversity System)

After doing Riff Raff, I wanted to embark into something seemingly simpler (seemingly!). So I chose another one I knew already, at least in part (every time I approach these fine songs, I find some difference to what I used to think/know).

The microphone used in this album (Powerage) – or the microphones – was a Neumann U47 FET, a different microphone to the Neumann U47 tube version, which is older than the FET design.

The FET design came into place after Neumann couldn’t source anymore (in good quantities) the VF14 valves (tubes) needed for the original U47.

Since I don’t have a U47 FET – and I don’t intend on getting one for now – I used the closest thing (in my mind) that I could use: its former self.

The two microphones are said to be slightly different, but I do not know in what they differ, frequency response wise. Eventually, will look for the charts.

Bon was also a user of the U47 FET for vocals, and I think he sang thru’ a U47 FET here.

While Mark Opitz – sound engineer for this album – talks about two microphones, the “AC/DC in the studio” interview talks about one microphone per cabinet. That’s what I used.

The final position is what you see on video, nothing really complex, a 3 inch distance from the outer right bottom cone, towards the outer part of the cabinet. I always use the bottom cones, especially on the slanted cabinets. I had tried the top ones, but they give a “funky” strange response, you can hear a lot more the room and I didn’t want them. Better a straight position as on the bottom ones.

The sound of the guitars on this album is rather bright – especially on the rhythm ones – so I did slightly put some center cone as well in it.

Additionally, it is my strong belief that the whole album was recorded solely with Marshall 2203s, which is what I have done as well.

Now, the real news for us here could be the fact that I used 1979 Celestions G12-65s here. It was a much better instant match than the Celestions G12Ms (note of June 2014: I think it was a proven fact that the whole album was played on G12Ms, not G12-65s – I was wrong here).

The cabinet I used here is a “new” entry for me. It is an original, near minty 1979 slanted cabinet of the period loaded with them Celestions G12-65. It was acquired on ebay, from a disabled guy names “Philippe” and solely thanks to the help of brother/member Rob Taylor, who has completely managed from within the UK the pickup and shipping process. Philippe – being disabled – wouldn’t do anything but open the door at the carrier door buzz for pickup. Thank you once again, Rob!  Additionally, the ebay link was proposed to me by brother/member SGAce – George – who has also had his wife give birth to two wonderful twins. Thanks to you and Congratulations, George :)

I did try it on a few Powerage songs (Angus’ parts only), and I came to the conclusion that Angus used exclusively Celestions G12-65s also on Powerage (as well as on Back in Black, that is) (note: you’re so wrong again, Fil!).

Therefore, I am going to draw a temporary  conclusion here, which I have already shared with brother Franz (Banane) and to which he agreed (he was actually of the same idea, too): Angus used almost only G12-65s from 1978 (inception date) on for a good number of years. He must have liked them a lot better than the G12Ms.

The G12-65s sound a lot like G12Ms, but they give different things, too. Less bass and more tight; treble are “harder” sounding but not harsh; really, tougher I would say. Mids maybe are less prominent, more controlled. Very fascinating. Will experiment some on Highway to Hell as well. Generally speaking, find the G12-65s more controlled.

I am rather certain Angus did use extensively the G12-65s in that era: if you have some, or can (and want to) find some or even use those on amplifier emulators (in place of the G12Ms) use them as much as you can, record yourself and report back: we are very curious here of your own results!

I wanted to use the Schaffer-Vega here, so I am telling you that I tried it here just for kicks; imagine my surprise when I (think I) found out that it was actually played entirely with the SVDS system? This is one of the few songs AC/DC did (in the studio) where Angus continued on with the solo while playing live with the band (or so it would seem; Powerage was a very much post-processed album as well, where a lot of editing went on after recording). It seems to be a whole take, rhythm and solo, no overdubs. It seems to be; things might have been different and maybe they made it sound like it was a whole take but it wasn’t. We don’t know for certain yet.

It was an instant match – at least it was to my ears – the rhythm came out nicely immediately on the SVDS. I think I hear the sound of the SVDS on rhythm as well (definitely so on the solo). Angus may have used the guitar volume rolled off to 8-ish for the rhythm, and fully open for the solo. I do hear the compression of the SVDS on both takes (rhtyhm/solo).

Very surprising for me. So, you are reading this right: I think this was one of those songs done in the studio where the SVDS was used for both parts: rhythm and solo!

Someone has written somewhere that they couldn’t get quite the same sound (without the SVDS). It either sounds too thin or thick (on a 2203, I suppose, which was the one used) and additionally, during the chorus, the 3 chords (flat D, B and A) won’t crunch enough if the guitar is too clean; but then, if you make those chords crunch, the riff will sound too crunchy, while it does sound rather clean on the song, for Angus’ part). I truly believe this was in fact the effect of the SVDS. With the SVDS, it does come out effortlessly clean or crunchy depending on how you roll off the volume and hit the strings. 

So this is another big plus/demonstration that SVDS may have been used on the entire take?

There are currently still doubts on how exactly the main riff was played; if on the first fretboard positions or how Angus played it on the now well known VH1 take (upper on the fretboard). I tend to think – just how member Hagus Young pointed out in the comments – that it was played on the higher fretboard positions but only on two strings (G and B). I did play instead also the D string, fretting an entire 3 strings chord; this obliged me to strike the strings with up-strokes instead of with downstrokes like Angus does on such live video (VH1). I needed in fact to give the thinner strings more accent to put them in evidence against the D fretted string notes. I may retry to get this done right.

While I though it was going to be a piece of cake for me – naive me! – it was instead the usual tougher than expected. Angus timing is freaking nice, he always puts those riff chords laid down slightly after the drums, what a great freaking groove. Took me quite a while to enter that groove myself, dancing a bit to it as you usually see me do. I simply will NOT get it done right if I don’t move to it. Sigh. This teaches me once again that this band earlier work has always have to be approached with tight concentration. Wow.

You can actually hear Angus’ guitar spilling over into Malcolm’s guitar microphone really clearly. In fact, if you – like me – pan all the way to the left and then, “mono” Malcolm left channel to the centre, you clearly still hear Angus. Which was useful to me to play to Angus’ timing while playing myself. You literally have to keep your timing to match Angus’ strikes or it will sound horrible, with your guitar coming earlier or later than Angus’, having the song lose a lot of its original appeal.

Same goes for the solo. It’s an easy one, right? It’s a slow one, so it’s easy. Fuck no. Also the notes were slightly (fairly) different to what I used to play in my older video(s). I had to re-learn it. There is a plucked part in the beginning, if you listen carefully you’ll hear it.


 

PS Quickly linking this older tutorial here for now. Watch it fully, don’t stop at the first minutes; I did cover here both ways of doing the riff. The one I used in this recent video is covered later on in the tutorial. Solo is partly wrong (as tutored). This latest re-cover of it is more accurate.

 

Fil

 

Older “Gone Shooting” Video Tutorial 

avatar
Fil "SoloDallas" Olivieri
sd@solodallas.com

I like Geetars!

67 Comments
  • avatar
    dash8311
    Posted at 04:47h, 12 December

    Hi Fil,

    Sorry, I missed your 2203 settings for Gone Shooting, same as Riff Raff? :-)

    All the best

  • avatar
    Nick
    Posted at 02:06h, 15 November

    Could anyone tell me how to get this kind of tone out of my amp? I play through a Marshall MG100HFX Half Stack andd use my Epiphone ES-335(Stock PUP’s).

    Thanks.

    • avatar
      Ryley
      Posted at 17:45h, 15 November

      i’ve got basically the same amp as you man, i usually play on the clean/crunch channel with gain all the way up. u may have to put the treble a bit higher because stock epi pickups can sound muddy, possibly keep the bass on the lower side, mids about half i think 😛

      • avatar
        Nick
        Posted at 00:58h, 16 November

        Thanks! Your right about the muddiness I can’t stand the bridge PUP I’m going to switch to a DiMarzio Norton

      • avatar
        Nick
        Posted at 02:04h, 16 November

        Back with results, you were pretty spot on, thank ya.
        Clean Channel
        Gain:9
        Bass:4 1/4
        Mid:6
        Treble:6 3/4
        Vol:11!
        Master:6-11 Thanks again you saved the day!

        • avatar
          Ryley
          Posted at 02:21h, 16 November

          there ya go :) glad i could be of some assistance!

  • avatar
    Lemmiwinks
    Posted at 01:43h, 01 November

    It was so long ago you did a actual solo phil! miss those times you stood in a warehouse playing riffs. You should do that again but now with the shaffervegabox! Maybe you could bring a drummer and jam.

    Feels like this websites keeping the rock alive, a culture that otherwise seems dead nowadays… Keep the tubes hot Phil! 😉

  • avatar
    Paulquasti
    Posted at 23:15h, 20 October

    Hello fil, could you tell me the tuning ( standard tuning ?) of this song, please ?

    • avatar
      Nick
      Posted at 02:07h, 15 November

      It’s in between E(standard) and Eb, It’s a quarter step down. They used it from High Voltage-Highway To Hell.

  • avatar
    HagusYoung
    Posted at 17:48h, 15 October

    Hey Fil,

    just got one little quesion, since you up pick the main riff, do you use the d string aswell, or just the G and B Strings?

    Yours,

    Hagen

    • avatar
      SoloDallas
      Posted at 17:54h, 15 October

      When up there on the fretboard for the main riff, I barely pick also the D, yes (and you can hear it at times). I surely FRET the D string on the appropriate note, just for it is part of that chord (and helps the hand to have a strong hold). My older tutorial actually showed these very positions. I forget if I posted it here at solodallas’? Let me search it

      • avatar
        HagusYoung
        Posted at 18:31h, 15 October

        You dont have to 😀 I got it, I was just gonna get it right since on the vh1 thing angus did more downstrokes with just the G and B. Allways nice to see and hear how things do slightly differ from each other :)

        Thanks SD

        • avatar
          SoloDallas
          Posted at 18:33h, 15 October

          Ah… I should have viewed that one, I haven’t in a while. Will re-watch on youtube right now 😛

        • avatar
          SoloDallas
          Posted at 18:40h, 15 October

          Okay, seen it. It should naturally be taken in serious consideration, as I believe that could have been THE way to do it. Not like mine, with upstrokes. Can’t try it right now, no guitar. Just two strings played, B and G. Wish I could try it immediately!

          • avatar
            HagusYoung
            Posted at 19:04h, 15 October

            dont know if its closer to the original, because g and b will sound brighter by nature than a d added in, with downstrokes of course. Im working around with your upstrokes, they do sound cool aswell but i dont like the accent that is put on the high note on the b string too much.

            • avatar
              SoloDallas
              Posted at 19:07h, 15 October

              As usual very good points. I think you’re onto something, I think that was the way to do it. He sounds different in the VH1 video, but he’s using different gear as well (wait… isn’t the hand the most important thing? Almost lol).

              • avatar
                HagusYoung
                Posted at 11:38h, 16 October

                as far as i can tell, your gear reaches perfection right now 😀 must be real fun for you to try and recreate the different techniques that angus used to tweak the sound just a bit. 😀
                Take a listen to the Blues Booze ‘n’ Tatoos (78′ Nashville)’s Version of Gone Shootin, Angus has a very bright almost a sandpaper kind of tone to him. im sure that he plays the riff both on the first frets and the version around the 7th and 5th fret. Also: I think Mal uses a Telecaster there, lots of twang in this record, very groovy overall. love it 😀

                • avatar
                  SoloDallas
                  Posted at 11:54h, 16 October

                  Hagen,
                  I can’t even tell you. That little room down there in the basement is my little paradise now. Hours just flow by and I don’t even realize it. I could not eat for days when I’m in there. I only drink water and the occasionally espresso . And smoke my cigarettes. And play. Record. Experiment. Combine. It is just wonderful.

                  • avatar
                    Ant
                    Posted at 23:48h, 21 January

                    just like master yoda! lol

                    are we still hunting for the RIGHT way to play the riff?

                    might i suggest somthing? :) .. i cant hear Angus string slides on the original recording like you get Fil when you progressing the riff

                    surly this would be evident also on the orginal if he was using the SVDS’s compressor?

                    i bet he is going it on the first few frets down stroking

  • avatar
    Jase
    Posted at 15:31h, 15 October

    This was beautiful. That tone is amazing. That SVDS is the ‘one’

  • avatar
    Hardrockerdave94
    Posted at 13:00h, 15 October

    Powerage is my absolute favorite Bon Scott AC/DC album, I love the raw guitar tones and the songs are awesome. Great job Fil

  • avatar
    depuis1899
    Posted at 11:07h, 15 October

    speechless…

  • avatar
    macturkey101
    Posted at 02:50h, 15 October

    P O W E R A G E ! ! ! !

    The definitive AC/DC album . . .

    . . . and Fil, you nailed it!!

  • avatar
    adam10603
    Posted at 00:36h, 15 October

    Did Angus use the schaffer on powerage? This must be the reason why my tone is always missing this “bite” when playing something from Powerage 😛

    • avatar
      SoloDallas
      Posted at 00:41h, 15 October

      Yes, he did. Mark Optiz (sound engineer) confirmed this. This is also why I insist much on the SVDS. Basically, it’s on EVERY record past Let There Be Rock up to Blow Up Your Video. Either solos (always) or rhythm (sometimes). And BOTH live, always (minus when broken 😛 )

      • avatar
        Kirk2000
        Posted at 03:02h, 15 October

        So that’s where the growl comes from on Down Payment Blues? I just can’t get that sound, no matter what I do… KIRK

        • avatar
          SoloDallas
          Posted at 17:47h, 15 October

          I don’t think so, Kirk. I think on most rhythm parts the SVDS wasn’t there in the studio (at least for Powerage, but I am ready to change my mind one more time lol). I think it’s the 2203 on G12-65s. I think Powerage is really 2203/G12-65s

      • avatar
        Hardrockerdave94
        Posted at 16:48h, 15 October

        I wonder why he stopped using it after Blow Up Your Video. Maybe that’s why his tone hasn’t been quite as good since then

        • avatar
          SoloDallas
          Posted at 16:50h, 15 October

          He wanted a change, I am rather sure. He had been using it for ten years straight. Additionally, the SVDS is a bit hissy (noise from RF transmission).

      • avatar
        headwhop26
        Posted at 19:28h, 15 October

        lol I think Mark Opitz is the name of pro hockey player too

  • avatar
    Ant
    Posted at 00:36h, 15 October

    Fil you have gone and shot me!

    Just Excellent!, i got nothing else to say 😛

  • avatar
    GoingDownOnTheWay
    Posted at 23:02h, 14 October

    Love this bluesy, driving tune. The groove is outstanding, that’s Malcolm-, Phil- and Cliff-power!

    Fil, I remember that you plucked the first part of the solo in the past, and the main riff of course. Is the sound closer picked than plucked?

    • avatar
      SoloDallas
      Posted at 23:06h, 14 October

      Still plucked it mate, but hardly seen. I sort of almost used both pick and finger on a few notes right at the beginning. You can still hear it :) earlier attempt was too much, this probably lightly more balanced :)

      • avatar
        GoingDownOnTheWay
        Posted at 23:16h, 14 October

        It’s very hard to hear, I don’t even realize what “the plugging” sound is. Without the SVDS in the old videos I could tell – now I can’t 😀

        The main riff sounds very close with your upstrokes, I will try that. I have already been experimenting with different approaches on this song, I tried the live way and it did not sound close. To me, the way you did it in the past, plucking the E and B strings, worked the best. I nerver tried to pick the live version!

        Or is that plucking, too? 😀

    • avatar
      banane
      Posted at 23:18h, 14 October

      To out myself one more time as a beginner: what is “plucking”? :)

      • avatar
        SoloDallas
        Posted at 23:23h, 14 October

        Pluck the strings with your fingers, not with the pick; grab them with finger tips and pull upwards :)

        • avatar
          banane
          Posted at 23:30h, 14 October

          Ah, of course…Lol, ok, that should have come to my mind :) Thanks, brother!

          • avatar
            Angusrocks
            Posted at 12:50h, 15 October

            …..good to know now :-)
            I didn`t know that either.

  • avatar
    ar2619Rob
    Posted at 22:54h, 14 October

    Really great tone, the SVDS and that new cab sound really good together. Now you able to reproduce tone from different albums with this gear the skies the limit! or perhaps ‘What’s Next To The Moon’ lol. :)

  • avatar
    Commander83
    Posted at 22:47h, 14 October

    Awesome. 10 Points to Fil!

  • avatar
    Kinglance
    Posted at 22:29h, 14 October

    I think I see something different than your old cover from Gone Shootin… The intro chord that u play three times… U play not a full powerchord, I see u only using two fingers… is this right? Are u only playing two notes?
    Ofcourse I want to congrat u with the playing!! It’s outstanding!! The sound is so clean!! I would almost say very dry, not dirty at all 😀 Let more come!! 😀 Grtz, J-L

  • avatar
    Dave4433
    Posted at 21:58h, 14 October

    That was amazing! (And I haven’t even watched it yet :D)

    • avatar
      Dave4433
      Posted at 22:15h, 14 October

      OK, now that I’ve watched it only thing I can say is ‘that was outstanding’. Killer tone. Though to me it sounds like Angus is playing that main lick only with the treble strings no further than the 4th fret (now that i can compare it played with 99% identical tone) so it sounds brighter to my ears on the record. It also sounded like You choped some of the notes in that main lick at some points during the song.

      That’s my “constructive critisism”.
      Major respect.

      • avatar
        SoloDallas
        Posted at 22:17h, 14 October

        You know I have been wondering whether he played it with barre or not since the first time I covered this… But live he did it this way. Not such a strong point, but still.
        Yup I did chop it at least a coupla times. No worries Dave, it’s all good! :)

        • avatar
          Dave4433
          Posted at 22:24h, 14 October

          Indeed it’s all good. It’s terrific!
          And it seems that atleast for the past 20 years or so Angus played this lick live as You did in the video. So You are correct about that no doubt. Besides it’s only my ears that hear it that way (my ears spend a lot of time right in front of a guitar speaker so most of the time my hearing isn’t worth s**t). =)

          • avatar
            SoloDallas
            Posted at 22:29h, 14 October

            Oh thanks Dave :) but I’m like you. I always thought it was played on the second position, first three strings. Brightness though could have been his settings on the 2203 – I used basic settings – and almost certainly thr SVDS here (but I used it too).

            • avatar
              Dave4433
              Posted at 22:35h, 14 October

              Just try and play that lick one way a couple of times and then in other position a few times. There will certainly be a difference. Stick with the one that sounds closest to the original (or the one You like best).

  • avatar
    JaiminhoPagina
    Posted at 21:34h, 14 October

    Wow! Fil, it’s success after success! 😀
    So… on some tracks Angus used the SVDS for rhythm and on some he didn’t? Interesting. I guess it was all about the sound he wanted, right?
    Well, the tone is really really sweet here!
    So… What’s next? Something from the IYWB album? (kidding! :P)
    Hugs!

    André.

    • avatar
      SoloDallas
      Posted at 22:12h, 14 October

      Posting another one in a few hours mate. Now please hear this: Angus on Powerage was ALSO on Celestions G12-65s! I am certain. I am starting to believe that Angus used G12-65s on. MOst albums since their inception (G12-65s were introduced in 1978, so from Powerage to the ’80s at least).

      • avatar
        JaiminhoPagina
        Posted at 00:14h, 15 October

        Really? On Powerage? 😛
        So… This means the they might have used G12-65 on Glasgow as well? O.o

        • avatar
          SoloDallas
          Posted at 00:20h, 15 October

          100% sure that was the case: G12-65s at Glasgow!

          • avatar
            Angusrocks
            Posted at 12:58h, 15 October

            oohh nooo, a few month ago i bought myself Greenbacks.
            And now i can change the speakers again ????

            • avatar
              banane
              Posted at 13:06h, 15 October

              Yes, really seems so :) Had luck and got 2 of them cheap om ebay, they do a good mix with 2 G12-25 in a 4×12.

              • avatar
                Angusrocks
                Posted at 13:19h, 15 October

                Hi Franz, yes, i have only a 2x12th box and i don`t know if it make sense just to change one speaker, but i think in the near future i will change both again (s**t happens)

                • avatar
                  banane
                  Posted at 13:29h, 15 October

                  Hm, why not get an empty 4×12 then? Or even a second 2×12? Makes more sense maybe, you would be much more flexible.

                  • avatar
                    Angusrocks
                    Posted at 14:29h, 15 October

                    yes, you are right, a second one is not a bad idea. A 4×12 is much too big for my celler, much too loud and i just don`t need such a big box. My 2×12 is loud enough and it is closed. It sounds almost like a big box. I will see…..

  • avatar
    banane
    Posted at 21:26h, 14 October

    Whoah, Fil, that really rocks! Great feeling as always and very cool camera angle!
    And now I’ll watch it over again :)

    • avatar
      JaiminhoPagina
      Posted at 21:35h, 14 October

      I agree 100% Franz! I’m doing the same right now. 😛

  • avatar
    headwhop26
    Posted at 21:05h, 14 October

    I LOVE IT, FIL!

    The camera angle is great– is it a new wide-angle lens? I dont know what it is about it, but it really shows how lightly you have to touch to get the right sound.

    And I love hearing the dry sound of just you at the end, its a great tone.

    • avatar
      SoloDallas
      Posted at 21:21h, 14 October

      HeHe. Yes, wide lens (14-40). It’s an older lens, but I hadn’t used it with the Canon 5DMkII, which is a full frame camera, giving more wideness. Usually I used the Canon 1DMkIV, which is a crop 1.3 camera. Glad you liked this new little view. And Jake, YES, I am only brushing the strings, always. I found out months ago this is really the way Angus and several other great players do. Just brush lightly. With the SVDS additionally, you can really softly brush them or strike them hard, will give each time a different sound. I LOVE the SVDS. I am sure it was entirely used on this song, just as I did!

      • avatar
        headwhop26
        Posted at 22:45h, 14 October

        Well it absolutely shines through.

        I know we’ve more-or-less disproved the “its all in the hands” theory, but let me tell you, you’ve got some magic in those fingers 😀

        • avatar
          SoloDallas
          Posted at 00:09h, 15 October

          Let’s just say that a decent player can not be without a strong hand; however, the myth “it’s all in your hands” and the “bone tone” are pretty much crap! 😛

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