![ac/dc you shook me all night long ac/dc you shook me all night long](https://i.ytimg.com/vi/A5neJq2kw-U/maxresdefault.jpg)
Also, the tone knob was often used especially in the early days, both for rhythm tracking and solos on Angus’ part.
#AC/DC YOU SHOOK ME ALL NIGHT LONG FULL#
The main rule being – quite the opposite – having the volume of the guitar on 10, and using the pickup at its full potential thus dialling in the sound differences from song to song from the amplifier settings/different microphone positions. While I think this might still have happened at times back then, this was definitely not the main rule.
![ac/dc you shook me all night long ac/dc you shook me all night long](https://s3.amazonaws.com/halleonard-pagepreviews/HL_DDS_0000000000133359.png)
In the past, if you remember, I used to think that Angus (and Mal) recoded their guitars in the studio rolling off their guitar volume for rhythm tracks, just like we are used to seeing them do live (Angus specifically). It really strikes me how I had to keep on lowering the volume of the amp. Re-placed the microphones on the bottom speakers, higher side of them to prevent booming, with the microphones capsules at the same distance from the grill and placed half on the centre cone cap, half on the ring around it (to try and capture at the same time some brightness and some body, with both microphones) and went again.īaffling the cabinet to try and prevent my bad sounding room to reflect too much
![ac/dc you shook me all night long ac/dc you shook me all night long](https://static.wikia.nocookie.net/rockband/images/f/fa/ACDC_Live.jpg)
So I knew right away that I had to go for what I thought had been used extensively on Back in Black, i.e., Celestion G12-65s. And by excess EQ I am talking about taking out (or even worse, having to add) decibels upon decibels of HMFs or LMFs (the two mid frequency ranges you commonly find on EQ consoles). So despite I am sure they always tried “whatever works” to cut the right sound recording AC/DC, we also know by now that excess EQ was never used, not even early on.
![ac/dc you shook me all night long ac/dc you shook me all night long](https://149349728.v2.pressablecdn.com/wp-content/uploads/2019/03/ACDC.jpeg)
We must always keep in mind that the set of people who worked with/for AC/DC during all of this time since the early days, has always been comprised of great minds and skills. I found myself having to massively cut such excess (trying to) from within the EQ console emulation, and I noticed immediately that I was trying too hard: this is definitely (I learned, in time) not how it was done back then, and at least not with/for AC/DC albums. This something, provided I placed the microphones correctly (which I think I did, simply following what I had learned from the great Tony Platt who used this technique himself on all of Back in Black: you put them at the same distance – roughly 3 cm – from the grill cloth, paying attention to not having them out of phase, and pointing to the general direction of two different speakers) was excess brightness/mid frequencies. As soon as I placed the two microphones – one vintage Neumann U87 and the Peluso P67 on the lower two speakers of my Marshall B cabinet loaded with the G12M “blackbacks” and hit record, I realised something was off. I had started for curiosity playing the rhythm track on my older set of G12Ms “blackbacks” (as opposed to greenbacks, these are supposedly the same speakers, only produced in the mid to late 1970s, a time that seemingly was short of green plastics – only difference being the colour!), as I am always willing to put my previous findings to test in time (and sometimes, this has caused me to review my own findings) but this was not the case. Updated Audio/Video Version on our Server My own vintage Neumann U67 in fact is being checked as it started to saturate at medium volume – something it is not supposed to be doing, and with a vintage microphone of this caliber (considered by many as “THE” microphone) I better take good care of it. But I attempted this time with a slightly different ingredient (a few actually) this including a new (bought used) Marshall YJM (Yngwie Malmsteen signature amp) and – in the recording process – a Peluso P67 microphone, supposedly being an “inspired by” microphone – a clone of a Neumann U67, basically. You know me (at least a bit) and therefore understand that not too long has to pass for me to go back to my personal holy grail, that being the “Back in Black” sound.