Researched rigHuman-verified78% confidence

You Shook Me All Night Long guitar tone

AC/DC · Angus Young (lead + rhythm) / Malcolm Young (rhythm)

Back In Black (1980) — Compass Point Studios, Nassau; produced by Robert John "Mutt" Lange, engineered by Tony Platt

open, mid-forward Marshall crunch with a lot of air around it - a dead room captured with large-diaphragm condensers, not a close-miked 57 grind

On the record

The rig AC/DC used

Researched from interviews, production write-ups and gear histories — not guessed.

Guitar

Angus: 1971 Gibson SG Standard (cherry). Malcolm: 1963 Gretsch Jet Firebird "The Beast".

Amplifier

Marshall heads, changed song to song: Angus's 1970s four-input 100W 1959 Super Lead and a 1966-67 JTM50 (solid-state rectifier), Malcolm's 1971 Super Bass 100W. Marshall 4x12s with Celestion G12-65s. Guitars recorded with pairs of Neumann U67s, or a U67 and a U87, on different speakers of the cab.

Cabinet

Marshall 1960 4x12 with Celestion G12-65

Microphone

Neumann U67

Signal flow

Signal chain

The order the original sound was built in. The exact settings get dialled for your own amp or modeller when you generate the tone.

  1. Gibson SG Standard 1971 (Angus)

    1

    lead and rhythm source

    guitar
  2. Schaffer-Vega Diversity System (Angus)

    2

    wireless system used as a front-end boost/compander — solo pass only

    boost
  3. Marshall 1959 Super Lead 100W (Angus)

    3

    Angus's main rhythm and lead amp

    amp
  4. Marshall JTM50 1966 (Angus)

    4

    second Angus head used across the album

    amp
  5. Marshall 1960 4x12 with Celestion G12-65 (Angus)

    5
    cab
  6. Neumann U67 (speaker A)

    6
    mic
  7. Neumann U87 (speaker B)

    7
    mic
  8. Gretsch Jet Firebird 1963 (Malcolm)

    8

    rhythm bed source

    guitar
  9. Marshall 1992 Super Bass 100W 1971 (Malcolm)

    9

    Malcolm's rhythm amp

    amp
  10. Marshall 1960 4x12 with Celestion G12-65 (Malcolm)

    10
    cab
  11. Compass Point room ambience mics

    11

    tracking-room ambience captured on dedicated room mics

    reverb

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Evidence

Why we think this is right

Tony Platt's Sound On Sound account of the Back In Black sessions at Compass Point covers this song directly. The guitars were captured with Neumann U67 pairs, or a U67 and a U87, on different speakers of the cabinet rather than a close 57, and the air around them is the room itself rather than a plate. Angus's guitar was the only overdub: he used his Schaffer-Vega wireless for the solo and stayed on to play rhythm to the end so the dynamics would not drop, which is why the last third sounds hotter than the first. Platt says the amps were only ever turned up as far as they needed to be. The instruments, per guitar.com, are Angus's 1971 SG into a 1959 Super Lead or a JTM50 and Malcolm's Gretsch into a 1971 Super Bass.

Sources

  • https://www.soundonsound.com/techniques/classic-tracks-acdc-back-black
  • https://www.uaudio.com/blogs/ua/tony-platt
  • https://guitar.com/features/artist-rigs/the-gear-used-by-angus-young-malcolm-young-on-ac-dc-back-in-black/
  • https://guitar.com/features/opinion-analysis/angus-young-ac-dc-guitar-gear-myths/
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