26 Oct AC/DC’s “Live in Paris” (Pavillion) All 2203 Content

Well, as much as Angus or Malcolm said they didn’t like Marshall Master Volumes of that era, they used them extensively, or at least live they did. I think – I am starting to think seriously – that they used them sometimes in the studio as well. I am conducting experiments to verify this, but it all takes time. It’s easier instead to prove it with original era videos. These are some of them for example. All JMPs, and likely, many 2203s (Marshall 100 Watt Master Lead MkIIs). Can be heard clearly in Angus’ tone, unmistakeably.

So when you wonder, “what a late ’70s Marshall JMP 2203/2204 sounds like?“. Well, this is IT.

Here for you are some of these videos, “remastered” it says, these are from YouTube:

High Voltage (one of their best performances of this song)



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24 Oct New, Tony Platt Interview on “Back in Black” (Premier Guitar)

In this issue of Premier Guitar, Platt is interviewed again regarding the techniques used for recording Back in Black,

i.e the whole album.

It’s no surprise then that this album, still increasing in sales, is now the second highest selling album in history. That fact in itself tells us several things: not only is it preparing itself to break that record but it may also be considered (as I do, and I have done for years) the most sold album of all time, not only in rock music, but across all genres: out-selling The Beatles, Michael Jackson “Jacko”, etc.

Confirmation surely, that the band was and still is a great band (more…)

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19 Oct Playing with self-made backing track – Updated

Little update as of Oct. the 19th 2010.

I am always experimenting as soon as I have a minute available, so I tried what follows.

Now, one thing that also intrigues me immensely is “Powerage” and LTBR tone. Both of them.

So I replayed rhythm and re-soloed this track trying to capture a bit of that spirit, although re-listening to this it sounds more Flick of the Switch-ish probably. Don’t know, can’t say. The delay I put on the solo guitar was meant to be more LTBR-ish.

Now, the interesting – maybe – thing is the fact that I think Angus on LTBR was “overloading” the input channel of his amplifier somehow. NOT with a distortion pedal, but more with pure “volume boost”, so basically a unit of some sort (might be already the Schaffer-Vega Diversity Systtem, that had a “boost” feature on the unit that would in fact “volume boost” the input signal). Might have been anything. So what I did, is to use a pedal I have (and will show to you) that has “volume boost” only, NO gain! No dirt here: just volume. It’s the same as the famous “Klon” pedal, which I also have and tried prior to this other one. But this one is a little more “colored” and I liked it more.

I used the lower input of my 2203 (the 100 watt Master Volume Lead) and blasted the volume of the pedal to overload the Marshall input signal. This is the result, both on the rhythm guitars and the solo. (more…)

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16 Oct 1976 Marshall Super Lead MkII & Back in Black – Update

Update of Saturday the 16th.

Brought the treble side of the Rhythm part down a tad. Replayed both solos, re-positioning the microphone, still only one microphone (I lack the second damn XLR jack, would you believe it? and I was too hectic trying the solos again).

Changed the equalizer settings for the solos slightly, see both new equalization settings.

Also, “bounced” Angus’ parts without the master track (i.e., you now can listen to me alone, rhythm and solos, no song).

Back in Black with the new settings, solos:

In order to get the amount of drive I needed (and that is heard on the record) I kept the loudness way down by using an attenuator, settings here were… all at 10! LOL. Except for presence that was still 0. All the rest, for the solos here, 10.

Parts ONLY (no original song):

New equalization settings: (more…)

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16 Oct Steve Armond’s take on Back in Black (from his book, Rock and Roll will save your life)

Interesting excerpt from Steve Armond’s book:

Consider the famous chord progression that Angus Young plays at the beginning of “Back in Black.” A good writer could tell us about those grinding, seismic chords, the distinct rhythm of their deployment, even that sly, arpeggiated little five-note lick that acts as a segue from one volley to the next. But those are just pale approximations of what it feels like to hear that intro, the squirt of sinister glee that makes most people – even decent religious folk – reach for their air guitar. (more…)

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