The (almost) Final Word On Back In Black? (UPDATE Shoot To Thrill)

20 Apr The (almost) Final Word On Back In Black? (UPDATE Shoot To Thrill)

Update: trying to grasp “Shoot To Thrill”.

Only an attempt, this one also is far from final. However, some reactions are already happening.

Angus seemed to have been “higher” on the guitar volume knob for this one, as he is evidently “boosting” the bass freqs more (you can hear it definitely even in the rhythm tone).

So on this 1971 SG Standard, volume knob was all time on 9 for both rhythm and solos (did only a single take).

Interesting Sonnox Equalizatioin curve as well. I had to take out some db on the five hundred hz to make it work better. It’s true as Mr. Platt said, there are various and slightly differences in tone between every song.

Naturally, even this one will get its own perfromance where I will try to nail 100% (well, the 100% of the real-life achievable results simulating certain things: remember I do not have an MCI console and its equalizers, no mic pres, no U67/U87, no Compass Point Studio room, no real speaker breakup volume: I am playing at .ess than a watt in power! There will be always differences in these attempts here. We’ll have to be content).

As for the amp, I tried a 50watts, my 1987 (modified by Bray).

Settings were identical to the ones used for Back in Black below.

So the rhythm is also the 1987, not the solos only (which was done for my own experimentation: how would the Vega work on a 50watters? Answer, well, just as “beautifully”!).

Cabinet is still the 4×12 with prerola G12Ms. My favorite.

Shoot To Thrill Vega 1987

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Well,

this morning I went back to my usual thing, Back in Black (the song for now).

I wanted to re-try and capture it, but using what I have been using these last days, i.e., the REAR Vega output and its boost. You know there is two boosts: a front panel one (with a lot of hiss) and an incredibly quiet one on the rear.

In my opinion, this is what he used.

Here it is to you.

Amp settings are as basic as they can be:

– 1959 Marshall model (year 1976)

• Bass 8, mid 5, treble 5, volume 6(!)

• 1971 Gibson SG Standard, original t-top, rhythm 8, solo 10.

• Vega TX on 1.5 o’ clock; Vega RX REAR boost +20db, audio adjust (its amount) to full,

• just one mircophone (condenser AT4047)  used(!) flat on the 4×12 G12M PreRola Speaker

The ProTools EQUalization curve with the Sonnox plugin is the lightest I have ever used; basically, +4 db on the 2k frequency, and cut the highs to 15k (maybe less, but since the take was whole, i.e., rhthm and solo – and on the record it was separate takes and separate settings) I needed to balance.

Bass freqs cut at 20hz (i.e., curve “starts” at 20hz and goes up slowly till it meets the 500hz odb increase line). Maybe an image will do better.

However, not surprisingly, you have to now know that the sound is there even without Equalization; in fact, I believe that even the solo sounds just right even if played with a 50watters (I used a 100watt) as probably Angus did.

It’s just that amazing “texture” that is all there.

When you hear the solo, you will definitely hear the bass boost (well, a total boost) coming up. That’s the Vega kicking in fully at 10 on the guitar. When you go back to 8, you will lose some boost (and lots of bass). But the tone will be very balanced. It’s really that boost on 10 that will get you that incredible driven and fat sound on some solos on the whole Back in Black album. Un-achievable without the Vega.

I just “brushed” the strings. I am NOT hitting hard at all. Brushing. Even for the solos. This is because the Vega TX is very responsive, and the dynamics switcth very well. You get a lot by just brushing. AND it’s easier to play.

Have a listen.

With this, I am basically shutting down Back in Black (yeah right, will never do!) in terms of tone quest. I will re-do another video performance of it. And the solo tutorial.

Other Back in Black (album) songs will naturally be researched however, THIS is the basic texture.

Back In Black VEGA Final