This is a whole different matter, and it still “matters” a lot, to attain the proper “tone”. I don’t think any description of the tone/sound would help us in any way, other than stating that I feel I am very, very close if not right there with what Angus must have sounded like in the studio room. I played almost every one of my SGs and each one struck some interesting memories of the album and other albums as well. I tried recording it with the poor microphone I had in the laboratory but the outcome was a disaster, therefore I will wait until I have a better microphone.
#Angus young guitar rig plus
I am tempted to say that these were the speakers used by Angus on most of the record, but I will wait on the other cabinet(s) loaded with G12H30 (30 watts instead of 25 watts, plus other differences that I am not yet aware of and couldn’t comment anyway).
Impressive bass/middle and treble response, in a completely different world in comparison with the vintage 30s. What is particularly interesting is the roaring G chord, as played several times on that album by both brothers: you hear those angels coming down: completely different frequency response, touch, tone, everything. So I switched to the slanted, 1969 (dated) Marshall 4×12 with original greenbacks in it, the difference blew me away.
#Angus young guitar rig update
Update as of Sat Oct the 2nd: I have played more with the non slanted cabinet with the vintage 30s in, and – on closer listening and rather more in depth experimentation (volume at multiple levels, low and high pre-amp values, every possible turn of presence/bass/mid/treble) I have to say I am unimpressed (Back in Black wise!) with it. Throughout the ’90s, the brother tended to use Celestions more contemporary Vintage 30 speaker, first in evidence on the 2000 album Stiff Upper Lip, although both have often returned to reissues of the G12H-30 and the Greenback in more recent years. Early on they were loaded with original G12M Greenbacks, or very often, the firmer, bolder, more efficient G12H-30s. The Youngs’ Marshall 4×12 cabinets have feature a range of Celestion speakers. Update as of Mon, Oct the 4th: our friend headwhop26 posted info from a reliable source stating the following: Angus Young will celebrate 68th birthday on a Friday 31st of March 2023.įind out about Angus Young birthday activities in timeline view here.(please note: this post is a follow up on previous Marshall JMP 100). 🎂 Upcoming BirthdayĬurrently, Angus Young is 67 years, 6 months and 18 days old. On September 30, 2020, the band's official Twitter account announced the pending release of a new album titled "PWRUP," with the lineup of Angus Young, Stevie Young, Brian Johnson, Cliff Williams and Phil Rudd. Angus, determined to finish what the band started, recruited Guns N' Roses singer Axl Rose to stand in for Johnson for the remainder of the Rock or Bust World Tour. In March 2016, after the departure of both Malcolm Young and drummer Phil Rudd, AC/DC was set back with yet another departure long time lead singer Brian Johnson was ordered by doctors to stop performing or face total hearing loss. AC/DC released Rock or Bust in the fall of 2014. In September Malcolm officially retired and Stevie was made AC/DC's official full-time rhythm guitarist. In May it was revealed that Stevie Young, Malcolm and Angus's nephew, would stand in for his uncle to record AC/DC's latest record. In April 2014 Malcolm Young was forced to leave the band due to ill health, leaving Angus the last consistent member of the band.
He uses Ernie Ball Super Slinky guitar strings (.009-.042) and Fender "Extra Heavy" picks. Beginning in 2009, Young started fitting Seymour Duncan humbuckers to all of his touring guitars. All of these are vintage-output Alnico II or V pick-ups with matched coils typically reading 7.5k ohm. Another 1964 SG that he used on the recording of Ballbreaker, has patent # pick-ups. Gibson made a custom SG for Young with lightning bolt inlays to replace the Jaydee SG. The Jaydee SG featured signature lightning bolt inlays on the fretboard. This practice was discontinued due to the potential for electrical shorts due to sweat, and at least one of these guitars would be repaired and used for the Rock or Bust tour. At least two of his SGs (whether modified Gibson product or ground-up construction) circa 1977 and the Paris "Let There Be Rock" tapings featured on-board wireless going to his amplifiers, the circuitry installed in a cavity routed into the back of the body. He also used a modified version of the SG called the Jaydee SG, which was made custom for Young by Jaydee guitars. Young has used Gibson SGs in various forms (his original, and the basis for his current signature model, was a 1968 - '70 SG Standard) throughout his career.
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