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The Definitive “Back in Black” featuring an original Schaffer-Vega Diversity System (UPDATED!)

30 Sep The Definitive “Back in Black” featuring an original Schaffer-Vega Diversity System (UPDATED!)

BREAKING NEWS!

Well, I was talking over the phone with my long time Italian-Canadian friend “Max” (he’s a member here too). Max has lived for decades with a 1959 replacing his own heart.

๐Ÿ˜›

Well you get the picture. Max told me “Fil, nice, but something still isn’t 100% right”. I knew this, I even wrote it down here, but I still couldn’t figure out why.

He told me the same old story: “Fil, take out stuff, as much as you can, no plugins, nothing. The sound HAS to happen with microphone, guitar and amplifier”.

He hadn’t implied that the SVDS shouldn’t be used, he just made sure I – once again – would understand that no equalizer in the world would work. Especially me having all the right gear – the very same actually likely used on that album, even including the microphone – I should be able to get it identical, without strange elements inside (talking about unwanted/excessย frequencies).

I had told him about the scooped mids thing, he asked what mids setting I was using on the amp and told me flat out “screw it Fil”. Laughs.

So the idea came to me that I should try without the SVDS (but WITH and ON the Celestions G12-65). Because in fact, the SVDS is a terrific clean boost with lots of mids!

And so, this very late afternoon I did.

And boy, there. Angus’ rhythm guitar was a 100% match, no things to take out with eq, nothing. Just guitar at 8, guitar TONE at 6, no SVDS on rhythm, G12-65s and a 1959 and it’s there. I was basically adding mids (SVDS) and then trying to take them out both at the amp settings AND a LOT with the post EQUALIZATION.

This one – SG, 1959 and G12-65s – ย was basically the ONLY combination I hadn’t tried; in fact, right when I installed the G12-65s the other day it came to me instinctively to put the SVDS on. I always play with the SVDS on now, I just can’t take it off lol.

Isn’t it always the same story? Don’t we end up finding what we wanted just at our latest attempt? Just like when you have several keys in your hand and only the last one is the right one! Damn!

Anyway. Will do shortly another video with the SVDS played only on solos and post it right here. So it will all stay documented (laughs).

To summarize shortly what I think happened likely on the WHOLE Back in Black album, Angus’ parts:

– Angus played rhythm without SVDS WITH the band, live takes. This rhythm guitar is always – or almost always presumably – on the right side of the stereo position.

– Angus overdubbed rhythm (center rhythm guitar WITH the SVDS)

– Angus overdubbed the solos WITH the SVDS

ย As you heard already in my latest video below, it is not SUCH a massive difference with or without the SVDS. Plus I love having the SVDS on at all times.

But for the sake of accuracy, truth and documentation, I wanted to make sure the community knew this :)

End of Update

__________________________________________________________________________________________

It’s a long story, and some of you followed me for a few years. So you know already.

I am not going to write it all from the beginning, also because everything has been documented here (luckily). So I’ll get straight to the point: it was The Schaffer-Vega Diversity System.

AND it was Celestions G12-65s. On Back in Black, that is. Someone had already thought about it – our own George aka SGAce (thank you George!).

So after months and months of trying in all possible ways – recently also with assorted Cetec-Vegas and eventually with an Original, Beloved Schaffer-Vega Diversity – also with an original Neumann U67 and hundreds of equalization curves tried, the last thing to try was those damn Celestions G12-65s.

I had bought an old couple (1979) last June, but hadn’t installed them yet. All of a sudden, days ago I rushed to put them in into an old 1971 cabinet. It now has two G12H30s and two G12-65s.

I didn’t put them crossed, just two on top (the G12H30s) and two on the bottom (G12-65s). I just wanted to have the chance to record easily choosing the type of speakers.

So I did, and it was definitely the missing, last link. Now, I don’t intend to say that my sound is identical 100% to Angus’ on that record. That record is still amazingly a work of art; almost un-replicable.

However, I really wanted to get as close as possible and after many, many attempts, this version is my definitive last one. I don’t think anything remains from being discovered, at least for this song.

So my findings (Angus only) are as follows:

 

Amplifiers used: Marshall 1959, both rhythm AND solo

Cabinet: at least one with G12-65s inside

Guitar: one of his Gibson SGs (or more).

What I used: my 1976 Marshall 1959 with an Aracom DAG Attenuator (what an amazing piece of gear that is).

One non-slanted cabinet with G12-65s in the bottom (see below for microphone position)

One single microphone used: Neumann U67 (Platt used two: an U67 and an U87).

For rhythm, a recently purchased Gibson SG Standard from 1968 (correct date). Vibrola removed (prior to my purchase). All original.

For solos, a 1971 Gibson SG Custom, all original.

A Schaffer-Vega Diversity System (SVDS). A video documentary on the Schaffer-Vega DIversity system will follow shortly.

Please watch the video if you made it reading thus far; will continue right below. ย While you’re at it, check the VU meter on the SVDS. And enjoy yourself :)

As you saw, the SVDS is made of a Transmitter (TX: the cream colored box attached to the front of my strap) and a Recevier (RX: friendly called by Mr. Schaffer himself “The Titanic”, as only these remain).

The TX sends the guitar signal after some cool audio processing (compression mainly, but not only) to the RX, which expands the compressed signal of some amount and then outputs the signal to the amplifier.

These were used both for microphones (Mick Jagger comes to mind) and guitar (countless guitar players among which, Angus Young).

Now, there are two outputs: one XLR output that was meant to simulate the cable (i.e., un-boosted signal but compressed) and an optionally boosted signal (front of the panel: Monitor Out with its own Volume to clean-boost), still compressed.

I used the latter output here, as I have been doing for quite a while since I found out. Not only it does clean boosts, but it also add some nice, strong mid range to the tone, particularly desirable on tube guitar amplifiers such as these very Marshalls.

So I did, and you hear the results.

Now, Back in Black though has a particular tonal characteristic that had eluded me for quite a while (all my life really, until recently): it is mid-scooped! That means, that the mids were literally “carved” i.e., they had been taken largely out of the EQ to make room for vocals, drums, etc.

I had never realized this so clearly until I worked AGAIN night and day on this. With all the right equipment now, I wouldn’t tolerate not getting at least in the credible sonic ballpark as the original.

So I worked and worked. Played with amplifier settings; moved microphone; played and recorded; added Equalization in post; and so on and forth.

I must have made hundreds of takes. Especially since I really realized that a specific, careful and almost unique microphone placement had to be the only way. So you place the mike carefully as you play some with the headphones (if you do it yourself and in the same room), then recorded, apply EQ and then realize it is off.

So you start all over.

I did this for I don’t know how long. And finally, I got content of what you heard is.

It is still not 100% dead on; Angus’ guitar has a sort peculiar character to it that I woud describe as “velvet” HMF (High Mid Freqs). Amazing taste on Mr. Platt’s and Mr. Lange’s part.

Maybe the joint use of an U87 would help out here, but I am content with this for now.

Because mostly it served to really prove down to 100% certainty that it was the SVDS in conjunction with all the other equipment to make it work. And this is what I wanted (besides the personal satisfaction of hearing a 98% correct tone while playing and listening back to it).

So the amplifier settings to mess around are as follows:

 

Presence: 0

Bass: 2

Mids: 2

Treble: 4

Volume 7 (rhythm) and Volume 10 (Solo).

Please keep in mind that this settings thing is really only worth it when recording. The microphone will capture the frequencies in a different way than our ears: additionally, the EQ one adds later will emphasize certain aspects and get rid of others. Such as in this case here.

Please see these few pics for microphone placement for this song:

[nggallery id=24]

 

Please note: article in progress.

avatar
Fil "SoloDallas" Olivieri
sd@solodallas.com

We Are Rock 'N Roll People.

250 Comments
  • avatar
    Dave4433
    Posted at 19:42h, 30 September

    I hear perfect compression, and near perfect EQ. But there are nuances still.
    Even closer this time, Fil =) If You keep going like this, You’ll get 110% rather than 100% accurate tone ๐Ÿ˜€

  • avatar
    rockn roll man
    Posted at 18:42h, 30 September

    It’s the same sound of the original song!
    A small question: are you going to sell in the future your SVDS?
    Sorry, you can’t also answer my question….
    Finally, the replica is almost ready, really?
    Congratulations for your big work in these months!
    write to me soon W Rockn Roll

    • avatar
      SoloDallas
      Posted at 19:29h, 30 September

      Pietro, I may sell it in the future, if I need a liver transplant, for example. But please help me cross my fingers that I’ll never need it! Joke. Answer is, I don’t think I’ll ever sell it. I have three actually, so one may be for sale in the future. But I can tell you that these will be extremely expensive. In the likes of USD10k per unit (for the ORIGINAL ones!).
      I think you will be much better off with our replica, which I can tell you now with fair certainty, will NOT be expensive!
      SVDS replicas for everyone, Fil ๐Ÿ˜‰

  • avatar
    mcubau
    Posted at 18:18h, 30 September

    This is sound !

  • avatar
    Tyler
    Posted at 18:06h, 30 September

    Fil, you’ve done it! Thats really it, the sound is there. I wish I could shake your hand and properly congratulate you! All I can say is that it has been a great ride up to this defining point! I can remember back to late 2007 when I first discovered you, and I saw you playing bib and ysmanl with that little alessandro amp head through a marshall cabinet and even though the equipment you used now is completely different, you still were closer than anybody at getting a bib tone. I’ve been following ever since and this evolution has been amazing! We can only imagine of what the future brings us on this site!

  • avatar
    ar2619Rob
    Posted at 17:15h, 30 September

    Top notch, a master ‘forgery’. All the little textures of tone that I listen for are just there. Thank goodness you got the S.V.D.S or this would never have become reality for us.
    That ’68 is beautiful, also great to see how much effort you have to put into the solo to get so much life from the strings.
    Your time has come! :)

  • avatar
    Ayakisg
    Posted at 16:41h, 30 September

    Fil,

    beautiful work!!!

  • avatar
    OldSchoolRocker666
    Posted at 15:48h, 30 September

    Fil do you know if there is any difference soundwise between this Super Lead 1959 and your Super Lead ?

    http://www.blocket.se/vastmanland/Marshall_JMP_1959_MKII_SUPER_LEAD_100W__1976_36219100.htm?ca=8&w=3

    • avatar
      banane
      Posted at 15:52h, 30 September

      Well, probably you can only tell it after playing both amps :) But I think, if you have the money, get it :)

      • avatar
        OldSchoolRocker666
        Posted at 16:08h, 30 September

        Was thinking about selling my 2203 and take this head instead, but then it will be darn loud and i refuse to add attenuators since well … Imho, louder is better! IF i go for it i WILL have to get a good room that doesn’t allow any noice otuside!

        I refuse attenuators since i like an amp to be naturally loud, and imho, no matter if i’ts unpractical or not, i find it ”odd’ to bolt on something that changes the soundwave to not make it feel ”massive”, i have cranked my 2203 at one point and the soundwave was just so enourmously massive, i love it! I have nothing against attenuators overall but it’s just not my way to go that is :)

        • avatar
          SoloDallas
          Posted at 16:57h, 30 September

          It’s easy to agree with you about the non-attenuator thing.
          However, it’s not about us; it’s about the others! The one around us.
          You either have a place where you can do this or you don’t.
          I used to have mine (studio). However I’ll tell you that it will cause serious ears issues in time. Not recommended lol

          • avatar
            OldSchoolRocker666
            Posted at 17:16h, 30 September

            Indeed! That’s why i’am searching around for a place to be where i actually can crank the things up without disturbing others, i have had some disgussions in past and while i want to play last thing i want is to cause unrest, or conflict that is, you should love the ones around you not anger them! So to speak :)

          • avatar
            OldSchoolRocker666
            Posted at 17:28h, 30 September

            But really do you think there is a difference soundwise between your Super Lead and the one in the link Fil?

    • avatar
      SoloDallas
      Posted at 23:59h, 01 October

      Sorry mate, this had slipped through my fingers. Well, the aesthetics are different. The one you show is the older style-looks. However, I think internally they were just the exact same. I think my model was one of the first to come out in 1976 with the new look. But I say again, inside they should be just identical.

  • avatar
    depuis1899
    Posted at 15:48h, 30 September

    what can I say???
    it’s purely awesome…
    the rhythm is there for 100% !
    for the solo, it’s like you said Fil, Angus’ guitar for that part has really something special, and I don’t know how to say it…
    But you nailed 100% the rhythm, and the solo I’d say 99,9 % :)

    • avatar
      SoloDallas
      Posted at 16:57h, 30 September

      It’s his hands bro, that’s the special component. His hands when he was at that age. Thanks mate!

  • avatar
    jupiter89
    Posted at 14:19h, 30 September

    Apparently what the Schaffer-Vega Diversity System is to AC/DC, the Binson EchoRec 2 (which was made in Italy) is to Pink Floyd. Both are very rare birds responsible in a large part for adding a distinctive tone.

    • avatar
      SoloDallas
      Posted at 14:49h, 30 September

      I think so. That’s why I have been making a big fuss around it.
      It completely changes/enhances the characteristics of a guitar and its amp. After all, it’s “only” a compressor and a clean boost. But if you think about it, these two singular items have been the most used in the history of guitar playing on guitar/amps. So it does make sense.

    • avatar
      SoloDallas
      Posted at 14:57h, 30 September

      By the Way Jupiter, Pink Folyd have been good customers of Mr. Ken Schaffer back then. They bought many units. David Gilmour used the SVDS himself for quite a number of years too! He used it from the rear output. I have the Inventor’s notes on this :)

  • avatar
    Ant
    Posted at 13:39h, 30 September

    Two words

    Holy S**t !!

    This realy rocks Fil god damit i cant express that enough ๐Ÿ˜€

    Excellent Work, I Salute you!
    Ant /../

  • avatar
    HagusYoung
    Posted at 13:04h, 30 September

    Oh boy i sure love that new SG of yours ๐Ÿ˜€

  • avatar
    Andrea Sg
    Posted at 11:03h, 30 September

    fil you get it…
    i mean exactly the same fat mid and bass that’s BIB it’s feature..
    that’s freakin awesome really!
    what program do you use for the editing part?

    cheers!

    • avatar
      SoloDallas
      Posted at 11:25h, 30 September

      Thanks Andre. Will post everything to the detail. I use ProTools exclusively and within ProTools, I used some Universal Audio plugins. But let me tell you this Andrea: there is NO way to simulate this sound; it HAS to be right at the source, exactly like stated by Tony Platt or other great producers/sound engineers. I too tried for months to get there, but couldn’t. Back in Black (album) sound is a 4×12 cabinet with G12-65s (G12Ms OR G12H30s on some songs, I am sure now) a Schaffer-Vega (or its replica ๐Ÿ˜€ :P) and you are good to go . The amp is not even THAT important to get the MAIN frequencies happening. Probably even the guitar isn’t. If you listen to Malcolm, he too has the same sonic characteristic here. It’s the Cabinet+speakers, SVDS. There. These are the main elements!

      • avatar
        Emplexador
        Posted at 17:51h, 30 September

        Fil, great point about speakers: the final filter!

  • avatar
    rjofig
    Posted at 09:17h, 30 September

    Awesome, Fil! after a few sound clips, it’s great to *see* you playing BiB again and all your energy! (I’m traveling, had to VPN my way out of the ‘great firewall of china’ to watch it, looks like all youtube/vimeo gets blocked here)
    Well, the amp doesn’t go to 11, but as you’ve uncovered, the SDVS is the key to that extra boost :) Looking forward to the next vid with your prototype, cheers!

    • avatar
      SoloDallas
      Posted at 10:58h, 30 September

      Thanks mate, it’s an honor to know you watched it all the way from the far orient! On the contrary to 11, it HAS to be just “clean dirty”. It’s a terrific, terrific sound. The most natural imaginable. Almost acustically natural. And the tube Amps just react wonderfully to it. I am in awe. This is my sound now, and likely forever. Now wonder Angus used it for so many years. And actually, I’d rather like much if came back to THIS type of sound!

      • avatar
        Ant
        Posted at 13:51h, 30 September

        Yeah i would like that sound back too :)

        Funny if Angus is reading this and said to himself “im always looking for a new sound…… ah screw it why not!” ๐Ÿ˜€

        • avatar
          SoloDallas
          Posted at 14:52h, 30 September

          Well Angus has his own sound now. He’s had the “Back in Black” type of sound for many, many years if you think about it. 10 almost. It would change because of individual album sounds, but the basic component is there. Then he changed. And I must tell you than since the time he changed, I didn’t like his sound nor his playing as much as the older times. The golden era I call it now. Naturally it’s all personal preference :)

          • avatar
            Ant
            Posted at 16:44h, 30 September

            i like his playing from the River plate show hes seems to of gone with a more bluesy kind of playing and a more gooey chunky tone if you know what i mean ๐Ÿ˜›

  • avatar
    banane
    Posted at 08:58h, 30 September

    Just great, you really play your ass off there, Fil :) And you finally nailed it down, for me at least :)

    • avatar
      SoloDallas
      Posted at 10:59h, 30 September

      Brother!!! :)

    • avatar
      Ant
      Posted at 13:53h, 30 September

      so true! you rocked so hard you looked constipated XD (a good thing lol)

      a natural feeling and body language only good old rock and roll can make you do!! :)

  • avatar
    bhock4
    Posted at 07:20h, 30 September

    epic man i say 100% half spot on man in other words you have got the tone but as platt says you need to be angus to have his tone so that why i say half spot lol but yeah phil excellent epic no words can explain how great you have become with this project ๐Ÿ˜€ can’t wait till the pedal comes out ๐Ÿ˜€

    • avatar
      SoloDallas
      Posted at 11:01h, 30 September

      Hehe thanks bud. Well, my theory is as follows: STYLE is in the hands, sound/tone is in the gear. I really work hard (like always, to tell you the truth) to nail this one in both ways. The solo I think is really spot on, tone wise. Rhythm is really deceiving. I guess the ROOM makes a difference there. Which is why I am content with this result. The SVDS is just “magic”!

      • avatar
        bhock4
        Posted at 11:19h, 30 September

        yeah m8 the SVDS IS EPICALLY MAGIC LOL i hope to test your pedal once it is made :)

        • avatar
          SoloDallas
          Posted at 11:26h, 30 September

          We are working on it for you as I speak mate ๐Ÿ˜‰ ๐Ÿ˜€

          • avatar
            bhock4
            Posted at 10:03h, 01 October

            sweet m8 ๐Ÿ˜€

          • avatar
            bhock4
            Posted at 10:43h, 01 October

            btw fil i live in Australia so once the pedal is made would it be available or would i have to wait until you are able to send around the world ๐Ÿ˜€

            • avatar
              SoloDallas
              Posted at 11:02h, 01 October

              Mate, units will be shipping out worldwide. No matter where you are, you will get it!
              Still unknown where production (general production) will take place. It MIGHT be in the USA. So shipping might take place directly from the US of A, which has a rather low shipping cost. Working on it.

              • avatar
                bhock4
                Posted at 11:20h, 01 October

                WOOOHOOOOO sweeeet m8 sooo cant wait

  • avatar
    White Falcon SG
    Posted at 05:08h, 30 September

    Hey I dont know where to post this comment, but I was wondering if any of you guys have heard of this amp kit, or have any experience with it? It is from a german company called Tube Amp Doctor, and the kit is called AMP-KIT: 100 Watt Master Volume Amp Head and is supposed to be replicating the sound of a marshall 100 watt ’68 super lead. Anyways, I was just wondering what you guys thought of it, and if any of you had experience with it. My main purpose is to use the schematics I found of it, and use them to scratch build a jmp100 watt amp. Is it the right style amp to replicate angus’s BiB tone? Thanks guys, and here is the link if you want to look at it.

    http://www.tubeampdoctor.com/en/shop_Amp_Kits_Parts_Cabine_AMP_Kit_PLEXI/AMP_KIT_100_Watt_Master_Volume_WITHOUT_CABINET_1902

  • avatar
    Emplexador
    Posted at 02:14h, 30 September

    Fil, congratulations and thanks for sharing. Great video, you look great, you play your ass off…the intensity is there to see. Amazing that it’s taken 30 years to figure out Angus’ BIB sound.

    • avatar
      SoloDallas
      Posted at 11:10h, 30 September

      Yo! So true (a long time to figure out). I think – it’s my perception – that many have been after this sound. Even professionals when doing albums (even Platt says so) asked for an Angus Young sound. The “hands” are important of course, but more so the timing and SOME gear. Without the right gear, one can dream of getting where he wants, but it won’t be happening. It’s a precise use of certain gear to get these frequencies. I am sort of counter-mainstream thinking here, where many are saying “bone tone” (the sound of the hands) and similar statements but like often in life, much of this is false myth. Which was exatly why I had to put myself down to this so hard and intensely. Enough with internet generalization and half-facts: I created solodallas.net (now solodallas.com) exactly to debunk all of this. Thanks bro!!!! Fil ๐Ÿ˜‰

  • avatar
    tjtristan
    Posted at 02:14h, 30 September

    This sounds great!
    Btw, what’s up with the truss rod cover on your `68?

    • avatar
      SoloDallas
      Posted at 11:12h, 30 September

      lol ALL of my guitars have the truss rod cover half open. Because the SGs are such thin guitars, between my heavy usage and temperature/moisture changes I am often adjusting the truss rod for neck perfect balance. To the point that I don’t close the truss rod cover anymore! ๐Ÿ˜‰

  • avatar
    JaiminhoPagina
    Posted at 01:13h, 30 September

    Fil! This sounds unbelieveable good!
    Eargasmic! ๐Ÿ˜›

    Gotta love all this great gear.
    Perhaps… Just a little too bassy? Or maybe it’s just me.

    • avatar
      SoloDallas
      Posted at 11:16h, 30 September

      Thanks my mate! The original is also quite bassy; I have listened to it for countless hours. However, there are specific freqs that make up the bass, not just 100hz; but less than 100hz and over 100hz (LMF etc.) so you touch that a bit and it changes! Also, the stereo you play it on will change the final result. I checked this on several stereos and not one gave the same results lol. PS I am ready to help you out on your main post about the AC/DC Marshalls: I think I am now able to distinguish between G12Ms, G12H30s and G12-65s for Angus playing over the years (albums).

      • avatar
        JaiminhoPagina
        Posted at 00:12h, 11 October

        Fil, You are right. I listened through other stereos and it sounded just right! xD
        Oh well…

        Oh. That would be really a great help! haha ๐Ÿ˜›
        Speaking of the article, I need to update it! xD

  • avatar
    adam10603
    Posted at 00:58h, 30 September

    Great article Fil! :)
    How do the 65s compare to the normal greenbacks? I’m really interested in them, since I have the environment to crank up my 50 watter, but I only have a 2×12 cab with two G12M greenbacks. And I don’t want to blow them up. So I thought of putting two 65s in there, and then it would give me the wattage to crank my amp :) But I’m a bit afraid… how do they sound?

    • avatar
      adam10603
      Posted at 01:01h, 30 September

      I mean the live sound. I don’t really care about how they sound recorded (don’t get me wrong, they must be great) but the thing is that I CAN apply EQ and stuff like that to the recording, and make anything sound like anything. But how do the 65s sound LIVE compared to the G12Ms, Fil?

      • avatar
        banane
        Posted at 09:14h, 30 September

        Oh well, I got 2 G12-65sfor my 4×12″, so I have now 2 G12-25s and 2 G12-62s in that cab. The 65s have much fatter mids while the 25s sound sort of thinner.
        Made some test recordings, mic’ed a 25 and a65 separately for comparison. Didn’t export them as mp3, but can do that and upload them somewhere, so one can hear crappy playing on a 25 and on a 65 :)

        • avatar
          adam10603
          Posted at 10:02h, 30 September

          That would be great my friend :)

          • avatar
            banane
            Posted at 10:08h, 30 September

            Ok, will do then. Turning on the Linux box now, link will come shortly.

          • avatar
            banane
            Posted at 10:22h, 30 September
            • avatar
              adam10603
              Posted at 13:52h, 30 September

              Interesting… I hear a more focused sound with a bit more of that magical 2khz presence frequency which is the key to the BiB sound. Very interesting though :) But it sounds very nice!

              • avatar
                SoloDallas
                Posted at 13:56h, 30 September

                Adam, want to try yourself with my takes? Won’t be an easy task lol I can give you them in MP3 format, un processed. Email.

                • avatar
                  adam10603
                  Posted at 14:09h, 30 September

                  That would be nice if you could send me some of that material ๐Ÿ˜›

                  Thanks Fil :)

                  • avatar
                    SoloDallas
                    Posted at 14:53h, 30 September

                    Done. Edited your post to remove your email (for spam, etc.).

                    • avatar
                      adam10603
                      Posted at 15:04h, 30 September

                      I didn’t think of that… thanks Fil :)

                    • avatar
                      SoloDallas
                      Posted at 15:08h, 30 September

                      I will always protect “us”. This community means to me :)

            • avatar
              adam10603
              Posted at 13:53h, 30 September

              The 65s are a lot cleaner too. Cleaner, and punchier. The 25s are smooth and crunchy, as always :)

              • avatar
                banane
                Posted at 14:03h, 30 September

                Yes, exactly. I like the tone of the whole cab very much now. Sort of “best of both worlds”

                • avatar
                  adam10603
                  Posted at 14:07h, 30 September

                  It’s a very nice combination. The 25 watters do the smooth and crunchy part, and the 65s add some clean and focused punch and definition. I must try this combination! :)

    • avatar
      SoloDallas
      Posted at 11:20h, 30 September

      I’ll tell you this mate: the sound you hear “live” is the same one that gets recorded. HOWEVER, the microphone/EQ (post EQ) will underline some characteristics and diminish others; but the sound you will hear from your cab is the same as the one you hear here right now. So, it IS terrific and totally Angus Young. Now hear this carefully: the (vintage at least) Celestion G12-65s sound MUCH like G12Ms; they are definitely of the same family. HOWEVER, there is more metallic, “harder” mid response than on the G12Ms/H30s.
      The treble frqs are definitely less prominent and the bass is “tighter”, i.e., less and more focused on specific bass freqs above 100hz (300hz range maybe).

      • avatar
        banane
        Posted at 11:30h, 30 September

        Yes, I second this. Both tests were recorded with the same amp settings and the mic centered to the speaker, but I redid the G12-25 recording with mic placed in middle between center and edge of cone, because of WAY too much treble with the 25s. Make the ears bleed.

      • avatar
        headwhop26
        Posted at 15:11h, 30 September

        It is just spectacular. I can hear all of those little frqs just falling into line coming out of that amp ๐Ÿ˜€ Im so proud of you Fil– this is a great thing to wake up to!

        • avatar
          SoloDallas
          Posted at 15:13h, 30 September

          Ciao you :) You know it means to me :)

          • avatar
            headwhop26
            Posted at 15:23h, 30 September

            I am kind of at a loss for words as to how it actually sounds. Im always trying to come up with analogies that actually reflect how I feel about it. It has that hot “bounce” that just permeates the record, and youve been able to capture it completely. But then there are bends in the solo that are just chilling that I love as well. Its like a slinky on stairs– you just push it on that first stair, and it JUST GOES.

            Like I said last time, the little blues riff in the main riff just has that sugary sweetness that makes me shiver. Its just got everything.

            • avatar
              SoloDallas
              Posted at 15:28h, 30 September

              Wow Jake. I actually got the chills reading this. My emotions run in the same direction as you describe every time I listen to this piece (I mean, the original one). Impressive, and I do feel YOUR intensity! Fil :)

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