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AC/DC – Love Hungry Man (tone sample and settings)

08 Oct AC/DC – Love Hungry Man (tone sample and settings)

Hi,

First of all, I’d like to introduce myself since this is my first post here on solodallas.com as a contributor. :)

My name is Adam, I’m 18, and I’m a huge classic rock fan and player from Hungary. I’ve been playing for quite a few years now, and I plan to do this for a living. My all-time favorite is (of course) AC/DC, but I also like lots of other classic rock bands/guys such as Led Zeppelin, Van Halen, Guns n’ Roses, Free, The Who, Tom Petty, Eric Clapton, Jimi Hendrix etc. I could go on for about a page more, but let’s get to the interesting part, shall we? :)

 

Today, I recorded a quickΒ sketch of the rhythm part of Love Hungry Man. I’m really into getting the HWTH (album) tone, and this was my first attempt (the beginning of a journey, if you like πŸ˜€ )

When Fil heard it, he told me right away that I must post it πŸ˜› So here it is guys:

 

Love Hungry Man (tone sample)

 

Please note that this is 100% RAW (no EQ, no compression, no anything… just straight out of the mic, into my sound card. That’s it!)

If you listen carefully, you can hear my (i)phone ringing in the background, at the end (lol πŸ˜› )

 

Now some technical stuff for all you tone maniacs πŸ˜›

 

  • Guitar: Vintage VS6 SG. I’ll probably do a post in the future featuring this guitar in detail. For now, let me just tell you that it ROCKS πŸ˜› Tonewise, it’s the best SG you can get, of course except for Gibson, and those amazing Japanese guitars like Burny and Greco. This guitar gets really close to the real thing! It has the pickup cover removed, which gives it a nice open and dynamic tone with a hotter output.
  • Amp: replica of a Marshall Super Lead (“1959″ circuit).Β 100% hand-wired amp, with very accurate specs. It also features a Lar/Mar PPIMV. The amp only has two power tubes installed right now (pretty worn JJ EL34s) in order to get 50W instead of 100W. Not to blow up my 50W cab, I also decreased the volume a bit by setting the PPIMV to 35-40W actual output power.
  • Cab: replica of a Marshall 2061CX (2×12″) cabinet.Β (same dimensions as Fil’s 4×10″, but it has two 12s instead). Inside, there are two Celestion G12M Greenbacks (UK-made, dating back to 2001).Β BTW, this is a home-made cabinet, which I made myself :) It’s a really well-built one.
  • Mic: one single Shure SM57. off-axis, right on the grill cloth (0 distance), 90 degrees angle
  • Recording: Line6 Toneport GX.Β Nothing special here…

 

Here’s a picture of my cab (click to enlarge… but it’s not large at all… lol :D):

2061CX replica cab

The amp sitting on top, is my little 5 watter (will be featured in a future post). This is not the amp I used here.

 

 

Considering the fact that my gear is not as high-end (as for example Fil’s), I think it sounds TERRIFIC (that sounded like Fil, haha :D). In my opinion this is about the cheapest and simplest gear that is still able to reproduce the AC/DC tone pretty much spot-on! (if you use it in the right way)

Oh, I almost forgot the amp settings πŸ˜› presence: 10, bass: 3, middle: 7, treble: 7, volume I: 8, top left input.

I set the presence to 10, because I positioned the mic a bit too off-axis, and I already marked that place on the cab with ducktape πŸ˜› (YES, it’s a very useful technique to remember your mic positions :) )

 

Well, I guess that’s all for now folks. If I’ll have the time, I’ll do a gear review post, featuring the equipment mentioned above, in detail, plus some tricks and tips for recording a decent tone at home, and some photos. Stay tuned!

 

May the force be with you πŸ˜›

avatar
ÁdÑm Dobos
adam10603@gmail.com

I'm Adam, and I'm a contributor here on solodallas.com. I'm a 21 year-old AC/DC fan, and player, from Hungary. I also play other classic rock and blues stuff, like Led Zeppelin, Guns'n'Roses, Free, The Who, Van Halen, and many many others. I'm a true fan of this stuff. I've been playing for quite a few years now. You can contact me at: "adam10603 (at) gmail (dot) com" (sorry for the format, but I'm trying to avoid spams from bots and stuff like that)

54 Comments
  • avatar
    angus4ever
    Posted at 10:20h, 01 August

    nice man, yeah pretty good sound, but I think, its extreme close to the Stiff upper lip Thing, for HTH its a Little bit too fat, but only my opinion.
    Keep on rockin’

  • avatar
    acdcfan28
    Posted at 23:42h, 28 April

    https://www.youtube.com/watch?v=UgZ3oTwxqdM&list=UU3Lbmw_9UaavnqVyCEUJAHg Here is my tone I just got now. I used my Dad’s Roland Cube 60 with the classic stack option which is a Marshall and I pretty sure it’s a JYM or JCM and I am using my Jay Turser SG

  • avatar
    SoloBakersfield
    Posted at 02:53h, 22 December

    Fil how much would it be for a G12-65 cab? . . . . I guess thats next on my list I have a 2204 jmp and I want some good speakers for it

  • avatar
    Johnny
    Posted at 17:55h, 21 December

    Hey guys i need some help. (this is gonna be long). Im doing some recording with my guitar teacher at his store, and need some help with getting a good sound (acdc sound of course). Were using a marshall jvm head with a vht cabinet. Ive got a marshall 1960 ax and bx cab, should i switch the cabs?? What setting should i put on the amp and what channel should i play through?? Also how should i be micing the amp?? Ive got a 2006 and 1971 gibson sg and were currently using the 06, should i use the 71?? Any help would be greatly appreciated. Were also recording onto a boss console… not sure if that matters??

    • avatar
      SoloDallas
      Posted at 18:58h, 21 December

      Everything matters. Every piece of the sound chain matters. I’d rather record without console (i.e., using digital protools for example) than coloring the sound with a weird console sound. For starters, yes, your ’71 SG would be recommended to look for your (AC/DC) sound. Additionally, try with the BX cab. The question before anything else though is WHAT speakers do you have inside? Today’s celestion speakers are almost certainly unable to replicate AC/DC tone. I would say the cabinet contributes to maybe more 50% to the overall sound, at times more than the amplifier itself (YES, I’ve said it!). Unless you can crank your JVM – which I doubt – you’ll be forced to go with higher pre-amp settings.
      Try this, which is what Tony Platt starts with always: presence 0-5 (it’s a range); bass 5; mids 3-4; treble 5; preamp 5-7; volume to your liking (and possibility). Attenuators come in help; this is why I have two. Good luck, Fil πŸ˜‰

      • avatar
        Johnny
        Posted at 19:29h, 21 December

        hey fil thanks for the help. my 1960 cabs are all stock, so i think those have the greenbacks in them?? Im not sure what speakers are in his vht cab. And when i mic the cab, where should the mic be and how far away from the cab?? Thanks for your help again fil :)

        • avatar
          Dries
          Posted at 00:32h, 22 December

          regular recent 1960 cabs have G12-75’s in it, or V30’s ( the 1960 vintage ). But AX and BX have indeed always greenback speakers, they can be recognised by the white chequer weave.

    • avatar
      SoloDallas
      Posted at 19:00h, 21 December

      PS Microphone: I only use large diaphragm condensers now. But AC/DC have been recording with almost any guitar microphone, from U47s, to U67&87 to shure SM57s and others. IF you have a large diaphragm condenser mike around you can use, indeed try it. Otherwise, the a trusty ol’ SM57 will always do.

    • avatar
      adam10603
      Posted at 01:51h, 22 December

      I’d recommend going with the BX cab. Although the speakers in those are chinese greenbacks, which are not the best. But it’s still the best cab among the ones you mentioned.
      The JVM is not really for this kind of tone. I don’t know that amp… does it have multiple channels? Try to keep it on a lower gain channel, and I’d say you should add a bit more midrange than usual, since this is a modern amp (which may have a slightly scooped midrange).
      As for the guitar, definately go with the ’71 πŸ˜‰

      • avatar
        adam10603
        Posted at 01:52h, 22 December

        As for a mic, the good ol’ SM57 will always do the job, if you don’t have any better.

        • avatar
          Johnny
          Posted at 03:23h, 22 December

          thanks for the help Adam. The amp does have multiple channels, so i should do the cleaner channel? and do u know how I should position the mic for recording?

          • avatar
            Johnny
            Posted at 05:06h, 22 December

            For the mics, were using a shure sm 57, audio technica at4047/sv and cardioid mic , im not sure if I spelled those right but u get the jist of it, which one should I use??

            • avatar
              adam10603
              Posted at 15:03h, 22 December

              Definately start with the 4047, that’s a very nice mic for these tones. However, I would give a try with the 57 too.

              The mic position is always a matter of lots of things like the room you are playing in, the song you are recording, the guitar/amp/cab/speakers you have etc.

              But I have developed a mic position which almost always gives me the right thing:

              Take a flashlight and locate the center (dust cap) of the speaker. Now the position is the following: close miking, 90Β° angle, and point the mic exactly where the dust cap and the cone meet.

              Something like this:

              http://www.harmonycentral.com/servlet/JiveServlet/showImage/102-1854-7-13791/Fig+2+On+axis+at+Dustcap.JPG

              Of course, don’t stick with this position. This is only a good starting point, but you might have to tweak a bit more to get the best tone.

              • avatar
                banane
                Posted at 15:47h, 22 December

                Big +1 for the mic position. My favourite too.

                And I made great experiences with a Shure PG 27 large diaphragm condenser mic. A cheap one actually, compared to the usual range of large diaphragm condenser mics. Got mine for 130 Euros. Needs 48V phantom power though.

                • avatar
                  Johnny
                  Posted at 16:05h, 22 December

                  Thanks for the help guys, I will try all of these suggestions at my next lesson :)

            • avatar
              adam10603
              Posted at 15:05h, 22 December

              Oh yeah, one more thing: try to keep the cables as short as possible. Meaning the cable from the guitar to the amp, and the one from the amp to your cab. That will result in less loss in the signal chain. As I remember right, Tony Platt said this somewhere

  • avatar
    maltone
    Posted at 16:25h, 20 December

    Hi guys. I’m not sure where to post, or how to contact anyone on this site. I’m looking for knowledgeable people to give me speaker advice.

    I have a 2005 Gretsch Firebird with a single TV Jones classic plus pickup in the bridge, 11 guage strings, wound 3rd, playing through a JCM 2000 DSL 100, and a 2X12 MESA cab with V30’s.

    I’m not looking to nail or perfect Malcolm’s tone exactly. To my ears, this setup has me about 90% of the way there, and that’s good enough for me. But, I’m not completely sold on these V30’s. I find them painfully bright in the top end, and I’m not hearing what I’d like to. It might also be the bright cap values on this amp’s green and red channels. I was also told it would be a good idea to change the cathode cap on V1A to a value like 0.68 or 1uf to get a tighter tone. β€” But that’s another issue.

    Can anyone recommend current production speakers β€” by ANY vendor, that have a very firm low end, the mid range hump of the V30’s, and a less spiky high end. I’m just looking for that GRRRR, but warmer and more balanced. It seems most music stores carry either the GT12-75’s in cabs, or the V30’s, I NEVER see anything else available. I’d appreciate your sugestions. Thanks.

    • avatar
      adam10603
      Posted at 16:49h, 20 December

      Maybe the G12-65 would do the job. Or if you can’t find a cab with 65s, then maybe G12H30s. For a Malcolm tone, I would go for a high wattage speaker, which has a classic greenback-like tone. By definition, that’s the G12-65. Unfortunately – as you said – 90% of the cabs that are available in stores, have either T75s or V30s.

      I don’t really know the JCM 2000, but I can tell you one thing for sure: don’t give up too early! When I first played my current rig, I thought it was crap. I couldn’t get the right tone out of it. But after about a year, I find the same rig VERY good sounding. I just needed some time to figure out the settings, and some little tricks that help a lot.

      • avatar
        maltone
        Posted at 17:02h, 20 December

        Thanks Adam, that’s a place to start. I read the comments section on the Powerage/ Riff Raff recordings, and the speakers used.

        I’d really love to know what Malcolm used for cabinets and speakers on that record – also one of my favorite albums by them.

        Through the V30’s there’s definitely that tightness at a “moderate” volume on the DSL, but the V30’s are just too “blingy” sounding in the top end to me. So I guess it’s a search for tightness, yet definition, not constricted – like the rhythm tone in chorus of Love Hungry man..
        β€” that open then hammer on A chord that’s repeated. That’s basically the tone.

        • avatar
          Angusrocks
          Posted at 23:57h, 20 December

          Hi maltone,
          long time ago i had the same amp as yours and the same speakers, the Vintage 30ies. More than a half year i searched for a good sound in that combination, but i never could fine a good, perhaps ACDCish, sound.
          I have never been satisfied with the Vintage 30ies and their high uppermid sound. After these i bought myself a pair of Greenbacks and that was a very good match. These Greenbacks have a well balanced sound of bass and highs and fine mids and if you need the Greenback-sound just with more power than the G12-65 are the right speakers for you.

          • avatar
            adam10603
            Posted at 00:08h, 21 December

            The 65s would be better, since it’s a high wattage speaker. What that means is that it will always stay loud, clean, and punchy. Perfect for a Malcolm tone. So I’d definately recomment a high wattage speaker like the 65

            • avatar
              Dries
              Posted at 10:37h, 21 December

              I prefer greenbacks for malcolm tone. Don’t know exactly why.
              they have a great ‘attack’

          • avatar
            maltone
            Posted at 14:55h, 21 December

            Thanks Angusrocks & adam10603. I think you’ve sold me on the 65’s. I’ve heard greenbacks, and really like them alot. But, I want to run a 2X12. A 4X12 for my basement hacking abilities is a bit too much speaker.

            I do love firm, but not constricted or compressed sounding. For mal’s tone anyway, I typically set the DSL 100 to the Green/Crunch channel, Volume: 4.5-5, Gain: at about 3-4. I find this TV Jones classic Plus pickup REALLY gets close to his midrange growl. I love these pickups. Maybe I should just splurge and get 2-65’s. Again, thanks.

            As a side-note, have any of you guys had any experience with the WGS Liberator 80 speakers?
            See: http://wgs4.com/liberator-80-80-watts

            • avatar
              AngusRudd1019
              Posted at 17:37h, 21 December

              When I called TV Jones to order a pickup for my dad for Christmas they told me the regular Classic was better than the Plus for recreating Malcolm’s tone. I guess I’ll find out comes Christmas.

              • avatar
                maltone
                Posted at 01:09h, 22 December

                AngusRudd – I hate to disagree with the “pros” who actually make the pickups. But, (and who knows if this is actually true) when I ordered my Classic Plus from TV Jones, the woman on the phone said, and I quote: “Actually, Malcolm’s guitar tech has ordered the plus versions for his bridge pickups on more than one occasion.”

                It might have been a little extra push to persuade me to buy the Plus. But I can tell you, I had a stock filtertron Alnico in my Firebird when I bought it, and to me, it sucked. It was so non-descript, no bite, not much of anything – it’s a much cleaner, lower output pickup compared to the TV Plus.

                Here are the values for several “Filtertron” pickups:

                Gretsch High-Sensitive Filtertrons (2005)
                neck: 4.02
                bridge: 4.70 (what came stock in my Gretsch)

                TV Jones Classics (2004)
                neck: 4.16
                bridge: 4.87

                TV Jones Classic PLUS (current) BRIDGE
                DC Resistance: 7.79k*
                Inductance: 3.71 H β€” These pickups are KILLER.

                They have far more bite and detail than my stock Filtertron. They are so hyper sensitive. When you have your amp set on a classic gain setting (in other words not too much gain) as you dig into the strings with the pick, they start to growl – very balanced sounding, and MEAN. They sound absolutely killer. I should have bought 2.

    • avatar
      SoloDallas
      Posted at 18:52h, 21 December

      Mate,
      I would also say G12-65s for sure.
      Another great brand that makes probably the best replica speakers is Weber (USA). I’d go with Weber if you can’t find original G12-65s.

      • avatar
        maltone
        Posted at 12:31h, 22 December

        Solo, you said “I’d go with Weber if you can’t find original G12-65s.” β€” Are you saying that the Weber’s might be more “true” to a more vintage sound than the current production 65’s?

        I ask because I’m on Weber’s site right now, but I’m not sure what speaker to look at, which model etc.

        Thanks again.

    • avatar
      SoloDallas
      Posted at 19:02h, 21 December

      PS V30s will never do the older stuff well. I presume the brothers have been using the V30s in recent years, but that type of sound is not my favorite in fact. The V30s supposedly have something in common with the G12-65s, but not quite. G12-65s are just the perfect evolution from G12Ms and I can’t be without. G12-65s are now my favorite speakers without question.

      • avatar
        Dries
        Posted at 00:28h, 22 December

        Be aware of this:
        there are many ( many! ) different G12-65’s.
        There are G12-65 with “444” stamped on the cones, and cones with 1777 stamped on it. the 444 stamped cones are the 65’s sold in JCM800 bass cabinets ( A or B’s ). They have less mids, and more high treble to my ears compared to the 1777 cones (wich are lead cones, sold in lead cabs).

        V30’s also use the 444 cone.

        I’m always wondering what Angus was using when they did the VH1 recording sessions. What a guitar tone.. never heard something like this?

        • avatar
          maltone
          Posted at 01:18h, 22 December

          @ Dries and SoloDallas…

          There’s my dilemma. I don’t know enough about these speakers – where to find the more balanced sounding ones, what version. I do not want more bright, I want less spiky, tighter mids – with that midrange hump of the V30’s or Greenbacks, and very firm, solid low end.

          I’d probably just end up buying current production new ones – and working the cones over 2 days to flex them out via a power amp and stereo if that would help relax and warm them up.

          So Dries, the new current production 12-65’s, are they the 1777 cone? How do the new ones compare? I LOVE mid range, just not scratchy or chalky. β€” Bite, but warm. That’s all I really want.

          • avatar
            Dries
            Posted at 09:37h, 22 December

            The best think you could do is look out for an 1960 cab from the early 80’s, great chance there are G12-65’s in it. Just take of the back plate and look at the number written on the cones. When it says 1777, you are likely going to have a killer cabinet.

  • avatar
    gretsch3marshall
    Posted at 05:07h, 29 October

    I love your sound man. You should keep posting.

    • avatar
      adam10603
      Posted at 14:20h, 29 October

      Don’t worry mate, I will πŸ˜‰ I’m just very busy with my work right now, but if I have some time, I will definitely make more posts.

    • avatar
      adam10603
      Posted at 14:23h, 29 October

      BTW, I had about an hour off yesterday, so I was experimenting a bit with mic positions… I can tell you that I found THE sweet spot on my cab πŸ˜‰ So my future recordings will sound a lot better. Stay tuned :)

  • avatar
    flyingfarmer
    Posted at 17:29h, 11 October

    I have the Vintage VS6 too, decent guitar! And really affordable! I would love to read a review how you think about it (and the uncovered humbucker you mentioned) and especially some words about the Burny and Greco guitars you mentioned too! I just googled them, never heard of, but they look 100% close to the real thing, better than any epiphone would ever do!

    Does anyone know, if they are still avilable anywhere and how much they would cost?

    • avatar
      adam10603
      Posted at 18:53h, 11 October

      Yes the VS6 is a great guitar. If the quality of Gibson was 10 out of 10, I would rate…

      Japanese copies (Greco, Burny, Tokai): 10
      Vintage: 8
      Epiphone: 7

      Looking at Les Pauls (sorry, I don’t know how much the japanese SGs cost) the prices are the following (approximate street prices of course)

      Gibson: about $2000
      Japanese ones: about $700
      Vintage: about $230
      Epiphone: about $300

      The japanese ones are the best deal you can make! But if you don’t have the money, the Vintage (brand) is best you can buy after the japanese copies. :) But I’ll do a post about this stuff soon. Stay tuned πŸ˜‰

      • avatar
        flyingfarmer
        Posted at 21:41h, 11 October

        Thanks, very much! I guess I will keep my eyes open for someone selling a Japanese one. πŸ˜‰

        Anyways…probably someone should write an article about how to get the best AC/DC tone with “budget gear” (for people who can’t afford those vintage gibsons and plexi’s)

        I’m pretty satisfied with my guitars right now (also owning a epiphone custom sg with 3 humbuckers and maestro vibrola (!) has been a limited run some years ago) playing a small tube amp, Ibanez 15 Watt with built in “tube screamer pedal” But it sounds more fender-like than plexi-like to my ears :-(

        So does someone know of a (reasonably priced) plexi style amp? I know, there are many of those handwired boutique-style ones out there, but I can’t really afford one.
        Something chinese would do, I guess…they seem to make copies of every brand guitar (often crappy, I know), so why not of the amps?

        • avatar
          adam10603
          Posted at 00:22h, 12 October

          Sir, I am just about to write an article about that πŸ˜‰ Since I’m also on relatively low budget (compared to eg. Fil’s), I have lots of thoughts and tips for people like us (I mean people with a relatively low budget). In my opinion, you can get very close with cheaper gear too. You will only need those vintage marshalls if you want the 100% thing, and you are a tone maniac (like Fil :) haha). I don’t prefer to talk about prices here… but let’s face it: my gear (what you can hear in the post) costs $700 overall. Including my guitar, my amp, and my cab. Of course it’s still not affordable for many people, but nobody should expect “the AC/DC tone” for free πŸ˜€ My gear can still be considered as kind of cheap.

          • avatar
            adam10603
            Posted at 00:23h, 12 October

            sorry, I did not include the mic in that $700. That would be $100 more

            • avatar
              flyingfarmer
              Posted at 15:53h, 12 October

              No need to call me Sir, I’m 18 too πŸ˜‰

              I am looking forward to your article!

  • avatar
    Hyce
    Posted at 20:27h, 09 October

    I’ve got the same 5 watt head. Love it! It’s a great little head.

    • avatar
      adam10603
      Posted at 22:27h, 09 October

      Mine was modded pretty heavily. Now it’s way better than the original, it almost sounds like a real plexi (I HAVE a real plexi, so you can trust me here πŸ˜› )
      Do you want a schematic of the mod? I can send it to you

      • avatar
        Hyce
        Posted at 01:51h, 10 October

        Sure, that’d be pretty cool. Not sure if I’d change it though, I like the way it sounds pretty decently by itself. I hope to be getting a plexi sometime soon. We’ll see.

  • avatar
    Andrea Sg
    Posted at 19:45h, 09 October

    Not bad!!!!!! really aggressive…

  • avatar
    Kinglance
    Posted at 16:57h, 08 October

    I like it!! Your sound has balls!! Grtz, J-L

  • avatar
    AngusRudd1019
    Posted at 07:54h, 08 October

    You have the same head as me, but I got all 4 EL34s but you have a better cab and guitar than me :(.

    Something was missing in your cover though. In the chorus when you play D-D-G-A…Play the second D with an F# in the bass and try to tighten up the hammer on A to G part other than that, I can’t wait to hear the whole thing

    • avatar
      adam10603
      Posted at 11:08h, 08 October

      Yep. I know that the part with the D chord is not really accurate. But you know, I mainly go for two types of recordings:
      One is when I do a performance. In this case, I try to be accurate, and do a good performance.
      The other is when I only go for the tone. In this case, I don’t care if I don’t play something accurately, I only go for showing the tone. This is one of these cases πŸ˜‰
      When I finally do the cover, I’ll play everything right. πŸ˜‰

    • avatar
      adam10603
      Posted at 11:12h, 08 October

      When I say “tone sample” it will always be like this πŸ˜› When I say “performance” or “cover” that will be the spot-on thing :) Don’t worry πŸ˜›

    • avatar
      adam10603
      Posted at 13:11h, 08 October

      What guitar and cab you have btw?

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