13 Jun High Wattage – AC/DC’s Marshall amps through the years (Work in Progress – UPDATED: Back in Black era uncovered)
Main Research: André Kozuma
Edits and additional info, SoloDallas
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So, hello again everyone! 🙂
Here I am again with another article.
This all is mostly things we already know, but I felt that we needed a place to put it all together and make it easier to consult rather than have to search though all the other pages to find the info on the comments or that sort of thing.
What I plan to do is a real Index for everything AC/DC related (gear-wise), but mostly the amps. Perhaps we can cover all of AC/DC’s history, but I can’t do this alone. I would like to ask every member of this community a little help. If you find any bit of info, good pics, videos, whatever it is, that you think it’s interesting, share with us, so we can oficially post it here.
So, let’s start with the amps.
Early Years – High Voltage, TNT, Dirty Deeds Done Dirt Cheap (1973 – 1976)
A few pics:
Malcolm during a recording session – Note how the cab is turned towards the opposite direction. Interesting.
August 29th, 1976 – Thameside Arena, Reading, England
“Baby Please Don’t Go” video screenshot (from Family Jewels Disc 1)
Same as above. This is Angus’ amp.
“Show Business” video (Family Jewels Disc 1) – Angus’ amp behind Mark Evans
Sound examples:.
Baby Please Don’t Go/ Show Business (Found on the Family Jewels disc 1)
httpv://www.youtube.com/watch?v=jru9irA9D9U
Live Wire (July 26th, 1976 at the Marquee Club, London, England)
httpv://www.youtube.com/watch?v=DXNsARuQGsg
Soul Stripper (July 26th, 1976 at the Marquee Club, London, England)
httpv://www.youtube.com/watch?v=ENjYEjXGStE
Rock n Roll Singer (July 31, 1976 at Barbarellas, Birmingham, England)
httpv://www.youtube.com/watch?v=Q1Ly4WzkpiU
Live Wire (same show as above)
httpv://www.youtube.com/watch?v=yWCNwGQ4sHA
No big secrets here, really. It’s obvious that when the boys were just starting, they didn’t have many resources and had to use what was available to them.
Their tone here is more organic, warmer, bluesier and fatter. They were clearly using early 70’s metal-face Super Leads (1959). End of discussion.
NOTE: Malcolm also could have been using Super Basses (1992).
We assume these were the amps used to record the albums too.
Let There be Rock era (Late 1976 – 1977)
Picture showing AC/DC with the “rocker switch” amps and new cabs. (September 23rd, 1976 – Musikhalle Grosser Saal, Hamburg, Germany)
Note: What a luck! I randomly chose this image to open this section and turns out that this is the earliest pic I could find with the new amps! This means they got them between August and September 1976. The last pic with the old JMPs is the August 29th gig.
After the release of the internetional version of “High Voltage”, (featuring tracks from the australian High Voltage and TNT), AC/DC received brand new “Rocker Switch” JMP heads from Marshall, as well as brand new cabs. Now, here is where things start to get tricky. We have two kinds of amps being used here: the Master Volume amps (2203/ 2204) and the non-Master Volume amps (1959/ 1987). There’s no apparent difference between them other than the number of inputs. So, let’s take a closer look at the pics.
Same gig as above, different angle. Here we see that Malcolm and Angus are using MV heads. Angus’ one seems to be a mixed up one (toggle switches, but new headbox and logo).
Unknown show, but It’s crystal clear. Two inputs. Angus is using at least one MV head here.
September 30, 1976 — Multihalle, Mannheim, Germany
The bottom head is, again, a MV. The pic is too blurry to identify the other one.
April 7th, 1977 Stadthalle, Offenbach am Main, Germany
Both amps on Angus’ side are MV, seemingly.
Same gig as above. It’s hard to see, but I believe Malcolm is using MV amps too (note how there’s black, followed by gold – meaning 2 plastic inputs and the plain metal panel)
April 19th, 1977 — Odd Fellow, Copenhagen, Denmark
The ones in the back are hard to see, but the one close to Angus clearly only has two inputs (what you see is a shadow). Beside it, we have the “mixed-up” JMP once again.
April 21st, 1977 Olympen, Lund, Sweden
The mixed-up MV again and…
On Angus’ side, there’s another MV.
NOTE: Thanks to powersurge for the next two pics:
August 29th, 1977 – The Whiskey A Go-Go, Los Angeles, CA, USA
From left to right: A MV (probably) and the “mixed-up” JMP MV on Malcolm’s side and an early 70’s JMP on Angus’s side (rest is out of view).
An interesting pic, but not because of the amp. 😛
Looks familiar?
Oh yeah! \m/ LET THERE BE ROCK BABY! A Schaffer-Vega Diversity!
And a really great pic from The Old Waldorf In San Francisco (September 2nd or 3rd, 1977). We have a MV head there. And a damaged non-MV (apparently a toggle switch version – note the smaller “Marshall” logo). Considering the previous pics, the amp behind Angus is the same mixed-up 2203 with toggle switches seen earlier.
I’ve been wondering what those “white block” things under the logo were. Tyler suggested that they are just pieces of tape where the Young brothers wrote down their amp settings. Either that, or it’s just to mark “Angus” or “Malcolm”. Both explanations seem really plausible.
Here is a new pic (found by powersurge):
July 7th, 1976 – Lyceum Ballroom, London, England (date must be wrong. They can’t have the new JMPs here if they didn’t use them on the Reading show in August 29th, 1976 – There’s also no audio recording, what makes me even more suspicious)
You can see the tape on the early 70’s JMP too, so that means it has nothing to do with “identifying” the new amps, as I thought before (I feel kinda dumb now – hehe)
By the way, is it just me, or those cabs behind Mark look HUGE?
This one is from the Let There be Rock music video. It’s clearly a MV (Two inputs). So… This is the amp used to record the album? Well… It must be there for a reason.
October 4th, 1977 Markthalle, Hamburg, Germany
There we see a non-MV JMP “rocker switch”. The one on the right side is the mixed-up 2203. I do believe the other head is a non-MV too. Why? Malcolm had at least two of them at this point (see the Golders Green image below).
The next few pics are from the Golders Green Hippodrome, October 27th, 1977. Here we have a blurry shot on Malcolm’s amps (click on the image to make it bigger). We have a (almost) clear view of two 4-input “rocker switch” amps!
What do we have here? A MV head being used by Malcolm. Is that the mixed-up JMP next to it it? 😛
Looky there! An old toggle switch JMP! A backup maybe?
December 4th, 1977 Electric Ballroom, Milwaukee, WI, USA
From up to below: a non-MV JMP with toggle switches (maybe one of the backups), then a MV JMP and A non-MV head (seemingly unused). Last one is impossible to tell.
A partial view of Malcolm’s amps: that old damaged early 70’s non-MV JMP and a MV under it.
Sound examples:
Let’s make it in chronological order this time. Why? You will find out soon enough.
Problem Child (December 5th, 1976 at Melbourne, Australia)
httpv://www.youtube.com/watch?v=JMAZdPRkPr0
Oh dear… Watch the video carefully (especially at 0:55 – 1:04). Lots of MV Marshalls in this one! 😀
Jailbreak (January 30th, 1977 at Sydney, Australia)
httpv://www.youtube.com/watch?v=A2AvaqoM5Rk
The sound got a lot edgier, more overdriven and brighter. This, my friends, is the pure sound of the 2203.
Now, listen carefully to these two clips:
Problem Child (August 22nd, 1977 at the Agora Ballroom, Cleveland)
httpv://www.youtube.com/watch?v=FPBG3ZvaCZE
[similar to the Melbourne one, right? Now, the next one]
Problem Child (August 24th, 1977 at the Palladium, New York)
httpv://www.youtube.com/watch?v=NQuuGvZ6m5M
Apart from the pitch difference (the tape was probably sped up), and the acoustics, did you notice a difference in the “texture” of the sound? Yes? Brighter, tighter high end, sharper? What happened between these two shows?
The Schaffer-Vega Diversity System! That’s right! Cool, huh? 😉
But also note that the difference is pretty much “subtle”. This is because, at that point, Angus was mainly using the rear output (Just look at the Whiskey a Go-Go pics again and you’ll see that there’s no sign of cable plugged into the front). This means there was no boost, only the compressor.
Live Wire (September 3rd, 1977 – The Old Waldorf, San Francisco) – Listen to Malcolm’s tone (with the non-MV/ MV configuration)
httpv://www.youtube.com/watch?v=Gd8CUPxWsIg
And, just for a good measure, the Golders Green performance (October 27th, 1977):
httpv://www.youtube.com/watch?v=FEe-Q0–nVs
Conclusions for the Let There be Rock era are:
- In 1976, the Young brothers started using “rocker switch” JMP Marshalls. MVs seemed to be used more, at first instance. This made their sound brighter and more aggressive;
- Early 70’s heads are still present through 1976 and 1977, probably more as backups;
- The LTBR album was probably recorded with the 2203 and 2204 (
and an yet to be identified boostPretty much demonstrated as the album additional boost was a solid-state distortion likely made by some solid state preamp gone into wanted distortion; microphone console pre-amp, etc.; see and listen to this); - Live performances were done with half step down tuning (or close to that – hehe). 😛
- The Schaffer Vega Diversity System tightened up the tone of the guitars, enhanced the high end frequencies and added a little more drive (August 1977 onwards);
- At first instance, only the rear output of the SVDS was being used. Then, at some point, Angus started to use the front input instead, giving him an additional boost.
- It is important to note that ONLY ANGUS was using the Schaffer Vega Diversity System. Malcolm continued using only cables, up to the 80’s (maybe?) when they switched to a different wireless;
- A mix of MV and non-MV amps was used in the last half of 1977.
Powerage era (1978)
The 1978 tour started on April 26th, most likely right after the recording sessions of the Powerage album. Lets start with a very well known show:
(April 30th, 1978 – The famous concert at the Apollo, Glasgow, Scotland) – Screenshots taken by 06AngusSG
Clearly a MV being used by Angus. This seems to be the far right stack.
This is the stack that is closest to Phil (in a total of 4)
The second stack and, as seen before, the fourth stack (2 inputs each).
Behind the mic stand, you can see the panel of the 3rd head. Looks like it has only 2 inputs.
Now, Malcolm’s side:
The two far left stacks. Do I need to say anything?
Hard to see, but here we have more two MVs, apparently.
“If You Want Blood” live album = Marshall JMP Master Model 100w Lead #2203. CASE CLOSED.
It’s too blurry… But considering the Glasgow gig, I assume all of them are MVs.
May 6th, 1978 Free Trade Hall, Manchester, England
That’s certainly a 2203 up there
on Malcolm’s amp, I see the cable jack creating a straight shadow. This means it’s the plain metal panel (2203).
Now, you are going to have a little surprise…
July 23rd, 1978 Oakland Coliseum, Oakland, CA, USA
(Autographed pic. How cool is that?)
Back to the subject… What do we have here? non-MV heads?
Angus is using non-MV heads too?
August 21st, 1978 – Paradise Theater, Boston, MA, USA
The “If You Want Blood” back cover art. You can see a non-MV at the left corner
Septermber 6th, 1978 – Midnight Special
(No advertising allowed!)
non-MV “secret” amp.
September 13rd, 1978 – Royal Oak Theatre, Royal Oak, MI, USA
non-MV heads. Wait! Isn’t that a 2203 on the background? Yeah. It is. But it’s a Thin Lizzy’s amp.
This means the Young brother went back to the non-MV heads around June 1978? Seemingly, yes.
Note that the inputs are the black plastic ones. Marshall started to make them with those around 1978, so they are brand new amps.
The cabs might be new ones too. In this case, they could be equipped with G12-65 speakers.
Look at the above pic again. We can see the speakers through the grill cloth.
Now, compare them to those:
Looks like it’s the second one, isn’t it?
Let’s move on.
October 28th, 1978 – Essex University, Colchester, England
Here we have a problem… MV heads again?
Wait, wait… So… They went back to the non-MV heads, and used MV on this show?
It seems that the venue was too small for the Super Leads, so they used the Master Models instead.
November 20th, 1978 – Gota Lejon, Stockholm, Sweden
A proof that they definetly went back to the non-MVs. It’s the last show of 1978.
Sound examples:
The early-1978 sound with only 2203 amps is, of course, heard on the “If You Want Blood” album.
Problem Child (April, 30th, 1978 – the Apollo Theatre, Glasgow, Scotland)
httpv://www.youtube.com/watch?v=NelzxuM040M&feature=related
UPDATE: Sound evidences and experiments seem to indicate that Celestion G12-65 speakers were used at Glasgow.
For a good measure, let’s hear a lower quality bootleg:
Problem Child (May 5, 1978 – Mayfair, Newcastle, England)
httpv://www.youtube.com/watch?v=PiqsOOe-p4o
Now, listen to this:
Problem Child (September 10, 1978 – Veterans Memorial Auditorium, Columbus, OH, USA)
httpv://www.youtube.com/watch?v=WtzG71ZZWY0&feature=related
Did you notice a difference?
It’s even brighter, with a stronger attack and definitely more “metallic”.
Perhaps, another proof that they started using G12-65 speakers.
Problem Child (October 23rd, 1978 – Vereeniging Hall, Nijmegan, Holland)
httpv://www.youtube.com/watch?v=KBckpu_Zvy4&feature=related
Same thing as above.
Problem Child (October 28th, 1978 – Essex University, Colchester, England)
httpv://www.youtube.com/watch?v=eY9H0s5sph0
I can tell the amps were relatively low. It doesn’t sound that full. Perhaps, the room was too small for the non-MV 100 watters and that’s why they used the Master Models, so they could still drive the amps at lower volumes.
You can hear it’s really really bright too.
Enough of Problem Child? Alright:
Bad Boy Boogie (September 10, 1978 – Veterans Memorial Auditorium, Columbus, OH, USA)
httpv://www.youtube.com/watch?v=PRPCfkoGqlQ&feature=related
Acid sounding guitar, don’t you think?
Sin City (September 6, 1978 — Midnight Special, XX, USA)
httpv://www.youtube.com/watch?v=MAb0kSq9jKU&feature=related
The pic up there tells us they used non-MVs here.
Sin City (August 8, 1978 – Atlantis Record Bar Convention, Nashville, TN, USA)
httpv://www.youtube.com/watch?v=3mfdP9t2vV0
I have a feeling that this wasn’t a big venue.
All this drive implies that MVs are being used.
Is it just me or it sounds a lot like the studio version tone?
This makes me wonder if they didn’t have the G12-65 right from the beginning of the tour (CONFIRMED NOW! :P).
Still… I’m not sure if they were available back then… And the album version is kind of smoother (And so is the Glasgow concert)… Well… This is just for us to think.
UPDATE: I spent some hours listening to those 1978 gigs again and I think I figured it out. Listen to these:
Whole Lotta Rosie (April, 30th, 1978 – the Apollo Theatre, Glasgow, Scotland)
httpv://www.youtube.com/watch?v=5oEtlLRWHmg
Whole Lotta Rosie (May 5, 1978 – Mayfair, Newcastle, England)
httpv://www.youtube.com/watch?v=ytR-eXLRK2A
Low quality but… We don’t have many bootlegs from this time period.
Alright. NOW:
Whole Lotta Rosie (August 8, 1978 – Atlantis Record Bar Convention, Nashville, TN, USA)
httpv://www.youtube.com/watch?v=oHctaQwlsxI
Whole Lotta Rosie (October 28th, 1978 – Essex University, Colchester, England)
httpv://www.youtube.com/watch?v=qQWJog7eYqY
Those two last ones sound pretty much alike, don’t they?
Well… We know that in Colchester only 2203 heads were used. So, this confirms our theory that they still used them for smaller venues.
Whole Lotta Rosie (October 23rd, 1978 – Vereeniging Hall, Nijmegan, Holland)
httpv://www.youtube.com/watch?v=maWnLrewBhs
The texture here is different. It’s more… “grainy”? Well… This tone change matches the photo evidences. non-MV were preferred for bigger venues.
Conclusions:
- Standard tuning (or something close) was used on that year;
- First shows done entirely with Marshall Master Model (2203) amps;
- Therefore, the Powerage also was recorded with MVs (and it’s documented here);
- AC/DC started using Celestion G12-65 speakers;
- They switched to non-MV heads in mid-1978, except at smaller venues (like the Colchester gig).
Highway to Hell era (1979 – early 1980)
June 3rd, 1979 – John ODonnell Stadium, Davenport, IA, USA
The first different thing we notice here is the JMP combo. It’s either a 2104 (MV) or a 2187 (non-MV)
1979. A very important year for AC/DC. This is when they really started to get big in the United States, breaking into the charts with the now classic Highway to Hell album. This would aslo be, sadly, their last tour with the great late Bon Scott. Well, let’s get right into it!
Although the tour started on May 1st, we don’t have many images available. So, our first images are from June.
Too blurry to see, but these are most likely non-MVs on Angus side (3 of them – last one is out of view)
Different angle. There is the third stack.
Malcolm’s amps are non-MVs too. He has four amps here instead (if we count the combo)
July 13rd, 1979 — Rijnhallen, Arnhem, Holland
Malcolm firing up his non-MV Marshalls
Angus’s side. There is a real wall of amps at this show
July 21st, 1979 Oakland Coliseum, Oakland, CA, USA
A clear shot of one of Angus’ amps
And the other two. No comments needed.
Malcolm’s side: Two non-MV heads and the JMP combo.
The setup is pretty much the same in all the the concerts (six amps, three for each brother). So, let’s continue.
July 28th, 1979 – Cleveland Stadium, Cleveland, OH, USA
Malcolm’s amps…
August 18th, 1979 Wembley Stadium, London, England
non-MV all over the place again.
August 23rd, 1979 – Ulster Hall, Belfast, Eire
August 28th, 1979 – Rockpop TV Show, München, Germany
Looks like they really dropped the 2203s at this point. Such a small place and still using 100w eardrum-blowers
I wonder what’s so special about that combo
September 1st, 1979 – Zeppelinfeld, Nürnberg, Germany
Angus’ side (two of the three 1959 heads)
Sound examples:
As you saw, the 1979 setup is really similar to the late-1978 one. Let’s listen to some clips:
Dog Eat Dog (June 12nd, 1979 – Massey Hall, Toronto, ON, Canada)
httpv://www.youtube.com/watch?v=NObbpZ9QGPM
Bad Boy Boogie (July 13rd, 1979 – Rijnhallen, Arnhem, Holland)
httpv://www.youtube.com/watch?v=l4GnbuaKtu8
Whole Lotta Rosie (July 13rd, 1979 – Rijnhallen, Arnhem, Holland)
httpv://www.youtube.com/watch?v=VSOBEo_wSBM
Live Wire (July 21st, 1979 Oakland Coliseum, Oakland, CA, USA)
httpv://www.youtube.com/watch?v=DU0cBZ914d4&feature=related
Highway to Hell (August 28th, 1979 – Rockpop TV Show, München, Germany)
httpv://www.youtube.com/watch?v=1VRO2TJwkVM
Walk All Over You (November 12nd, 1979 – Jaap Edenhal, Amsterdam, The Netherlands)
httpv://www.youtube.com/watch?v=IuyTaEXO8Yw
Shor Down in Flames (November 12nd, 1979 – Jaap Edenhal, Amsterdam, The Netherlands)
httpv://www.youtube.com/watch?v=fFphU0-tz24&feature=related
If You Want Blood (You’ve Got it) (October 16th, 1979 – State College, Towson, MD, USA)
httpv://www.youtube.com/watch?v=6a428pJpyLM&feature=related
So… That’s basically the 1979 tone. non-MV Marshalls and Celestion G12-65, as it was in late-1978.
It is slightly less aggressive than Glasgow ’78 (guess why – MVs vs non-MVs), but just as cool, in my opinion.
NOTE: THE NEXT PART IS STILL A LITTLE UNCLEAR. WE HAVE NO ENOUGH INFORMATION TO CONFIRM ANYTHING.
The Schaffer-Vega Diversity System has a really important paper in the AC/DC sound.
The biggest proof of that is the following concert:
Shot Down in Flames (December 9th, 1979 – Pavilion de Paris, Paris, France)
httpv://www.youtube.com/watch?v=rS0_d8J4CGc&feature=related
This is really the “black sheep” of AC/DC tone.
The sound here is a lot warmer and driven. The explanation for this is that the Vega was broken or was suffering interference from a local radio. Either way, it couldn’t be used and the Young bros. had to use cables and think of another way to get the desired tone. The question now is: How did they do it?
It could be a boost with 2203 heads. But… Had they taken the MVs to France?
UPDATE: A screenshot from a Dutch TV promo of “Girls Got Rhythm”:
Holland’s TopPop television series. November 12th, 1979.
Same as above. Kinda blurry, but it’s clearly a 2-inputer. Not sure about the others, but…
It seems that they were really carrying MV amps with them during 1979
And this date is really close to the Paris gig. So, it’s really probable that they were using 2203 amps on the famous “Let There be Rock: The Movie” concert.
(After all, Fil’s ears are rarely wrong!)
And a little addition:
Shot Down in Flames (November 2nd, 1979 – Hammersmitt Odeon, London, England)
httpv://www.youtube.com/watch?v=tukYw89OSP0
It sounds like the Vega is working here, right?
Angus sounds a lot brighter to me. Not as much driven though.
Now… What about the Highway to Hell album?
After some time listening to the album, I realized that the non-MV amps just CAN’T achieve that nasal and driven tone. 2203/2204 were used for sure.
Plus, Fil’s renditions of Highway to Hell and If You Want Blood are SPOT ON with his 2204 and the G12M equipped cab. So… That’s final I guess.
Also, remember that a studio is basically a small venue. Does that ring a bell?
Conclusions:
- Marshall non-MV amps apparently used through all the year (with a few MV appearences too);
- Celestion G12-65 also used extensively;
- Highway to Hell album likely recorded with (or also with) MV amps. The SVDS was used at least for lead work.
- The Young brothers sound like themselves no matter what gear they use. PERIOD.
Back in Black era (1980 – 1981)
Back in Black: The Pinnacle of AC/DC’s career. They’ve barely recovered from the shocking death of Bon and already got back to work with their new vocalist, Brian Johnson.
Now, I think this might disappoint you, but I coudn’t find a single good picture of the amps used this year! O.o
That’s because, at the time, they started to place them either next to the drums, facing the side of the stage (as seen on the Let There be Rock movie) or hidden backstage.
Let’s work with what we have then…
Look! It’s that old “mixed-up” JMP from 1977 again! Looks like they kept it. Under it we see another 4-holer.
UPDATE: I don’t know why I didn’t think of this one before!
A screenshot of the promo video for Rock and Roll Ain’t Noise Pollution (July 4th, 1980)
There we see some Marshall heads. It seems to me that they have the bigger logos used from 1980 onwards. This means they got new amps in the begining of the tour!
These are really the only pictures of the amps we have in 1980, sadly.
Now, a pic from 1981:
February 5th, 1981 – Koseinen Kin Hall, Tokyo, Japan
It’s really blurry, but you can see the amp there (luckily)
Wait… a 2203? Yeah. Seemingly (two inputs)
February 23rd, 1981 – Showgrounds, Sydney, Australia
Another MV. Also, note the size of that logo. It’s certainly a new one.
Well… It seems that 1980 will remain as a really mysterious year… In all the senses.
Sound examples:
Since we don’t have pics, let’s work with bootlegs.
Hells Bells (July 1st, 1980 — Brielport, Deinze, Belgium)
httpv://www.youtube.com/watch?v=QVOWY3oVbsE&feature=related
Hells Bells (August 1st, 1980 – Palladium, New York, NY, USA)
httpv://www.youtube.com/watch?v=JVvZMpUR1uo
Back in Black (August 1st, 1980 – Palladium, New York, NY, USA)
httpv://www.youtube.com/watch?v=jIsrmuFlAU0
Highway to Hell (August 1st, 1980 – Palladium, New York, NY, USA)
httpv://www.youtube.com/watch?v=_x8PMDxLUig
Whole Lotta Rosie (August 1st, 1980 – Palladium, New York, NY, USA)
httpv://www.youtube.com/watch?v=KJ_Op3mgxHE
You Shook Me All Night Long (August 30th, 1980 — Dallas Convention Centre, Dallas, TX, USA)
httpv://www.youtube.com/watch?v=qBSpwTk8Jgg
Highway to Hell (August 30th, 1980 — Dallas Convention Centre, Dallas, TX, USA)
httpv://www.youtube.com/watch?v=WGVDmtbZvUY&feature=related
High Voltage (September 27th, 1980 – Cobo Hall, Detroit, MI, USA)
httpv://www.youtube.com/watch?v=UYLo0I3AvX4
What Do You Do For Money Honey (October 10th, 1980 – Civic Centre, Springfield, MA, USA)
httpv://www.youtube.com/watch?v=GTRIDT4js5s
Shoot to Thrill (November 12nd, 1980 – Hammersmith Odeon, London, England)
httpv://www.youtube.com/watch?v=7CDiHy83B-4
Whole Lotta Rosie (November 20th, 1980 – Gota Lejon, Stockholm, Sweden)
httpv://www.youtube.com/watch?v=cMJmokIWVpI&feature=related
Whole Lotta Rosie (November 29th, 1980 – La Rotonde du Bourget, Paris, France)
httpv://www.youtube.com/watch?v=K9TUh9FOEJI
Whole Lotta Rosie (December 14th, 1980 – Hallenstadion, Zurich, Switzerland)
httpv://www.youtube.com/watch?v=x7Cw0rYOVZw
What Do You Do for Money Honey (January 13rd, 1981 – Parc Des Expositions De Chateaublanc, Avignon, France)
httpv://www.youtube.com/watch?v=HT__aYoEGng
Rocker (February 5th, 1981 – Koseinen Kin Hall, Tokyo, Japan)
httpv://www.youtube.com/watch?v=q8aWdNvZIw0
Rock ‘n’ Roll Ain’t Noise Pollution (February 27th, 1981 – Myer Music Bowl, Melbourne, Australia)
httpv://www.youtube.com/watch?v=9SRdtqn681A
So… Now the question is… When did they get the new 2203 heads?
Truth to be told, I don’t know. These bootlegs aren’t really good and it’s impossible to tell the tone changes, let alone without the help of pictures.
But, I must say that the tone is really “nasal” since the very first concerts in Belgium.
UPDATE: The screenshot of the promo videos indicate that they had the new heads since the first half of 1980 – This probably means Angus used MV all through the tour too!
The Back in Black album itself is surrounded by many mysteries, stories and rumours.
Concerning the complex recording methods applied, we, here at Solodallas.com, are still trying to uncover the right elements that created the incredible, punchy and badass tone that we all fell in love with.
The photos showed many non-Master Volume heads in the rehearsal room, but we also saw a 2203 at the corner. That means they probably were using it too.
Update!
Listening to the album through headphones, I muted the left side to hear Angus and then the right side to hear Malcolm. And I realised something really important.
You know what’s so different about this album? I’ll tell you: Angus guitar alone isn’t that special (Yeah. You read right – no, I’m not nuts). Don’t get me wrong. His tone is AMAZING here, but It’s MALCOLM’S guitar that is adding all that beef! Yeah! That’s right! (I’M TALKING ABOUT THE RHYTHM GUITAR TONE HERE, BY THE WAY. Angus’ lead tone in BiB is to die for)
Remember that photo up there? The “mixed-up” JMP 2203? So… That’s it. The amps in that room probably were the ones used to record Back in Black.
And who usually plays that amp? Malcolm!
Listen to it carefully: Angus guitar is kind of thinner, more “grainy” and rawer. Malcolm’s guitar is fatter, “nasal” and brutal.
Angus played through non-MVs.
Malcolm played through a 2203!
It’s the mix of these two tones that creates such a powerful sound.
Alone, they are great. But only when the two are together, the magic happens.
Conclusions:
- Master Model amps used again on live performances (edgier sound, to match with the edgier vocals of Brian Johnson);
- Back in Black album recorded with MV amps (for Malcolm) and non-MV amps (for Angus);
- Cabinets still equipped with Celestion G12-65 speakers;
- Schaffer-Vega Diversity System still being heavily used.
- The tuning became more stable (Standard A=440), probably because of Brian’s more “technical” approach on singing.
SoloBakersfield
Posted at 04:26h, 08 JanuaryWhen did Angus start using G12-65 and when did he use G12M ? I want to buy one of these but im not sure on what to get with my 2204
JaiminhoPagina
Posted at 03:22h, 14 JanuaryG12M were used during the early years (until 1977) and then again after 1995, if I’m not mistaken.
G12-65 were used from 1978 – 1988 (or something like that). 🙂
webmarketing
Posted at 20:39h, 07 Januarywebmarketing…
[…]High Wattage – AC/DC’s Marshall amps through the years (Work in Progress – UPDATED: Back in Black era uncovered)[…]…
Beräkna BMI
Posted at 18:01h, 29 DecemberBeräkna BMI…
[…]High Wattage – AC/DC’s Marshall amps through the years (Work in Progress – UPDATED: Back in Black era uncovered)[…]…
Filmes
Posted at 17:22h, 29 DecemberFilmes…
[…]High Wattage – AC/DC’s Marshall amps through the years (Work in Progress – UPDATED: Back in Black era uncovered)[…]…
rockn roll man
Posted at 21:01h, 26 DecemberIn acdc’s albums (in this article), Has Malcolm ever used the SVDS to record his guitar? In which albums?
Thank you for the help
JaiminhoPagina
Posted at 03:23h, 14 JanuaryActually, no. Malcolm always plugged straight in with a cable during the 70’s. On the 80’s he started using a wireless too, but I don’t know wich one (Vega wasn’t used live anymore at that point, I think).
NathanBrazil
Posted at 22:46h, 12 DecemberSo the G12-65 gives a more “metallic” sounding?
JaiminhoPagina
Posted at 03:25h, 14 JanuarySorry for the late reply.
Yes, in a way. It also has less treble and a better bass response.
nitroangus23
Posted at 01:07h, 23 NovemberCheck out this scan from the Back In Black Tour Booklet,
Pretty neat info.
Nothing jaw dropping, but none the less, here it is,lol
http://i985.photobucket.com/albums/ae333/nitroass23/BIBTOUREquip.png
Lists the members gear of the time.
dogeatdog
Posted at 21:36h, 22 NovemberSlightly OT but i just noticed something pretty weird-admittedly my eyesight is poor…however..
Check out the Cleveland ’79 gig on YouTube,Bad Boy Boogie(its clip 3 of 5)..at about 3.50-4-00 minute mark i cant see Angus’ wireless reciever.I can see what looks like a small piece of white tape on the guitar where his elbow would meet the guitar but i cant see his wireless reciever at all,or a cable.
IS my eyesight that bad?? lol
Check for yoursleves and lemme know what you think.
Cheers.
OldSchoolRocker666
Posted at 19:25h, 27 OctoberAbout the JMP combo on the last pictures in 1980, maybe the combo was used by malcolm on BiB as rythm while Angus played solo parts?
Could the Combo have been part of recording BiB?
JaiminhoPagina
Posted at 22:00h, 28 OctoberMaybe… Who knows? 😛
All I can tell you for sure is that Mal used a MV amp on most tracks.
OldSchoolRocker666
Posted at 00:08h, 24 OctoberLooking at the pictures of ACDC having venues with large Marshall stacks all over the scene..
And nowadays people seems forced to use lower wattage heads and smaller cabinets and micing the cabinets sometimes through the P.A 🙁
Okey i can get that big Marshall stacks are clumsy and not very practical volume wise, but..
Let’s say a band wants to play loud like they did in may bands in the 70s, and don’t wanna have to rely on P.A to make it loud by using a low wattage amp through it, is it still possible to use old Marshall stacks?
I know a Marshall stack is often way to loud but i’am sure you dont need to crank it to ten to still sound good.
I wouldn’t wanna disturb anyone being far to loud that i’am allowed to, but it also doesn’t feel right to sound big by micing an 15 watt amp through a P.A 🙁
Is Marshall stacks still useable?
AngusRudd1019
Posted at 04:51h, 24 OctoberIt’s funny that you brought this up because me and my dad and my tribute band are never sure about this either. We are a tribute to AC/DC, who crank their Marshalls every show and I don’t understand how people can hire an AC/DC tribute band and not expect it to be loud…
I say they are useable but it depends how you use them and if you are loud, you better be good nothing worse than a loud guitar player who sucks lol…Personally I like loud, powerful guitars, when I get to the point in my life where I start my own band and compose originals, I’m going to be going into places with cranked Marshalls
ACY
Posted at 12:34h, 24 OctoberI don´t think people are forced to low power amps, to me that´s more some kinda hype arround that. Amp builders can build cheap amps and sell them for a lotta money. Did you ever look inside some of these low power amps? They got no balls, no power, and no sound to me. You do not have to crank up a 100W MV Marshall, to make it sound good. Ask Fil about that, or I think most of you know anyhow. I had some discussions with PA men “turn your volume down” – I told em to fuck off and make their job right! After the gig the same guys came back to me “best guitar band I have worked with!” . That´s been an AC/DC cover band (no Angus clothes and no other show at that time – just the music) You got it in your hand make the amp sound good, and with the right volume in each place you are playing. In small places I used to play a full stack, yes a full stack. You know why? A half stack is only blowing to the back of your legs, so you´re turning up the volume, but a full stack is right beside your ears, so you can play really low volume but good sound with full stack in smaller places.
Crank it up, yes!
SoloDallas
Posted at 12:48h, 24 OctoberI agree to this. I have been trying to use lower power amps in the past years, especially when I had the studio. So I put together a number of combos of all ages and wattages. Never really liked it. But that is me. Some people like those tones. I think you still need to attenuate a smaller amp anyway, as it’s going to be very loud nonetheless. So, I’d rather attenuate some (or most of it, when I am playing in my lab) and play with the big ones.
gretsch3marshall
Posted at 01:07h, 18 Septemberhttp://a1.sphotos.ak.fbcdn.net/hphotos-ak-snc7/s720x720/294056_10150379805484923_654474922_10180314_1051954376_n.jpg
He used this out back in the paris LTBR film. Why are there 4 knobs on this booster?
banane
Posted at 01:25h, 18 SeptemberIf you mean that unit with the round screen on the amp and the red light display, that’s just a guitar tuner.
SoloDallas
Posted at 08:29h, 18 SeptemberNot a booster! That’s a guitar/instrument Conn Strobe tuner 🙂
Ant
Posted at 13:37h, 22 Novemberalways wondered what that was lol
SoloDallas
Posted at 22:21h, 15 SeptemberAndré, was re-watching Pavillon. Now, these last two or three days I have been having the Schaffer Vega boosting my 1959 no stop, several hours a day. While I still have no G12-65s – and they DO make a difference; a 1979 loaded with G12-65s is coming to me in a few days finally – I still can’t hear a 1959 there, UNLESS it was something more than a boost; an overdrive. There is far too much drive than the 1959 seems to be able to deliver, boosted or not. My take is that the 2203s were used here. Angus seems to have the tone knob closed a bit; that, or even a treble boost the the volume boosted all the way up but the tone (of the treble booster) somehow closed. I’ll try to simulate this myself soon. Fil 🙂
SoloDallas
Posted at 23:01h, 15 SeptemberAnd to give you – and all – an idea of what a boosted 2203 sounds like, here you are:
httpv://www.youtube.com/watch?v=Kwu-O8cAM2o
Very much in the same league.
Core
Posted at 01:23h, 21 NovemberFil, you talk about a boost pedal in this video but I don’t seem to find where you mention which one. Can you please give us a clue as to which? I’m curious.
Thanks!
AngusRudd1019
Posted at 02:13h, 21 NovemberThe sound is insane, I need myself a speaker with G12-65’s soooo bad, it would help my sound sooo much.
Also, going with Core, what is the name of that pedal?It sounds phenomenal!
AngusRudd1019
Posted at 02:16h, 21 November*EDIT – A Cabinet with G12-65’s
Dries
Posted at 10:23h, 21 NovemberIt won’t change your sound THAT much, it’s just part of the whole thing.
SoloDallas
Posted at 11:36h, 21 NovemberCabinet in the Secret One video is a 1969 non slanted, original PreRola G12Ms, NOT G12-65s. The G12-65s were only introduced in 1978.
SGACE
Posted at 15:04h, 21 November1979…
SoloDallas
Posted at 22:07h, 21 NovemberCelestion says 1978?
SGACE
Posted at 11:54h, 22 Novembermeybe they were produced on 1978 but Marshall started to use them on their cabinets on 1979 until 1983..
JaiminhoPagina
Posted at 23:01h, 22 NovemberWell… AC/DC managed to get them on early ’78 then. Probably a “sponsorship try-out”? xD
We have a pic from ’78 (right here actually) where we can clearly see the G12-65 cone through the grill cloth.
Plus… There’s a really big tone change from ’77 to ’78 (and it’s not only because of the standard tuning – it really sounds sharper by ’78)
Johnny
Posted at 21:01h, 21 NovemberHey fil hows it going, are you gonna be selling your SVDS copy any time soon 🙂
SoloDallas
Posted at 22:06h, 21 NovemberYep as soon as it’s ready. First prototype basically ready (we made a few, 4). Once they’re tested will go into full production. Not long.
AngusRudd1019
Posted at 23:14h, 21 November@Dries would it make that much of a difference from my AVT cabinet?
AngusRudd1019
Posted at 07:00h, 22 Novembermy question is for everybody actually. Would switching out my AVT cabinet for a cabinet with G12M or 12-65’s make a huge difference or minor???
banane
Posted at 07:16h, 22 NovemberDon’t know the AVT cabinet, but the G12-65s have really great mids. Mixed two of them with two G12-25 in my cab and got a great tone.
Johnny
Posted at 04:56h, 23 Novembersounds awesome file, any idea on how much $ you are gonna be asking? Also, where did you get that secret 1 pedal at and how much $ was it? Also, since I never told you yet, thanks a lot for all the hard work your putting into all of this, i appreciate everything your doing and all the secrets your telling, and your playing is amazing…dont stop what your doing 🙂
Johnny
Posted at 04:58h, 23 November(FIl) sorry, I mispelled your name lol:)
AngusRudd1019
Posted at 06:26h, 23 Novemberhttp://www.secretefx.com/products/secret-1_ltd
if you buy one make sure when you order it tell them you are from solodallas.net and give them your username so you can get a discount
Johnny
Posted at 18:00h, 23 NovemberThanks for the tip angus rudd, ill definitely do that 🙂
Core
Posted at 00:00h, 22 NovemberMan that boost sounds great but pricey. Just picked up a full set of G12-65’s myself for good price. Can’t wait to hear em with my 2204 and 1984 (1960) B cab. Maybe next month I can look into the pedal but alas I have an attenuator and tonebone head switcher I’m thinking about so I can run two heads into one cab.
banane
Posted at 07:50h, 21 NovemberSee here: http://www.solodallas.net/my-secret-1-tone-demoreview/
Great tone there 🙂
Oh Well
Posted at 01:18h, 03 Septemberthose huge cabs are the Marhsall 4×15’s… I saw deep purple using those as well…
OldSchoolRocker666
Posted at 15:00h, 03 SeptemberIsn’t it the same Cabinets that Lemmy used? Aren’t they called 1979A/B that were made in the early 70s or something?
SG_ANGUS
Posted at 16:36h, 06 AugustDid you know that Angus’ guitar sound changes during shoot to thrill?!?!? Tony Platt (the engineer for back in black) used a whole different way to record Angus on shoot to thrill!!! I can’t hear it, but Tony said that to this day, when he listens to shoot to thrill, he can hear when Angus’ tone changes…. 🙂
powersurge
Posted at 16:54h, 10 Augustits because when they were recording “shoot” they were using his wireless stuff, than had to use a regular cable because the road crew had to pack it up for the tour.
http://www.youtube.com/watch?v=WSAcpL8rZLs
go to 23:00 in the vid
Angusrocks
Posted at 21:04h, 03 AugustThis is more for germans, but also for others !
http://tonehunter.de/index.php
Angusrocks
Posted at 21:05h, 03 Augusti think the reducer is very good !
banane
Posted at 22:51h, 03 AugustI tested a TAD silencer and brought mine back to the shop today, had it over the weekend for testing.
It’s fine for just a bit of attenuation, if your amp is too loud for your band or for a small club or so. Up to -14 db of attenuation works fine, especially with the treble boost.
But then for the living room, -14 db is still too loud. You need an attenuation level of -16 db or more. And then the treble boost switches dont work anymore. They only work at up to -14 db, at -16 db they are without function. They write this in the manual, but not on their website.
Now, with -16 db, the tone gets VERY dark, even with bass on 2 or below. A bit treble is there, but the mids are weak and the dynamics (which were totally alive at -14) are gone. Dead tone.
Finally, I managed to get a good tone at -14 with 2204 master volume on 2. But thats not what I want. Actually, that’s what I actually have, with my Weber mass lite.
I want to crank my amp on 6 and attenuate it down to bedroom level. For me, this wasn’t possible with the TAD silencer.
Now I ordered a Weber Mass 100. Will maybe post a test review of the TAD and the Weber Mass 100 later.
Angusrocks
Posted at 23:57h, 03 AugustYes, i can understand you good, right at the very low volume you need the treblebooster and then it is dead.
Unfortunalety at the point where you need it most.
I`m sure you will find the right attenuator, there are many on the market. I found that attenuator at Tonehunter, i watched the soundvideo and i was a little impressed how good it presents the sound, how original, even at very low level.
Yes, do that, the Weber Mass 100 is in my interest.
ar2619Rob
Posted at 00:15h, 04 AugustHi Henning and Franz, excuse me for jumping in.
I use a THD Hotplate and I’m pleased with it. There are treble and bass switches which work at -16dB. I use them for some songs and not for others but they are effective. I have the m.v on 4-5 and the hotplate on -16dB which is still pretty loud. There is also a pot that reduces further than -16 down to nearly silent but the tone does go off if you go too quiet.
Angusrocks
Posted at 19:36h, 04 Augustyes Rob, that is right.
I`m pleased with my THD 16 ohm, too, but at very low levels the tone goes off, that`s right.
Angusrocks
Posted at 23:32h, 04 AugustNot bad 🙂
http://www.youtube.com/user/thevalveamplifiers?blend=3&ob=5#p/u/0/COBFj2PGMsI
ACY
Posted at 09:26h, 31 JulyThanks for that work, been very intersting and that´s about the same experiences I had in my mind about that rockers amps. As I´m a huge MV fan it does not wonder that LTBR and Powerage are the albums with my No1 guitar sounds. They never had that sound again, so aggressive, straight in your face, right in your balls, great! Powerages “What´s next to the moon” is my perfect sound, and I always start to grin when working on Marshalls when I get that sound in excellent execution without any mods or addings needed. But almost every older Marshall needs some work to be done to get such a perfect sound. And may be some NOS tubes! 😉
JaiminhoPagina
Posted at 03:10h, 01 AugustYou are welcome! 🙂
Thanks to you too.
I have to agree! I LOVE their sound from that time period. Nowadays, with the Plexis and everything… it’s really great too, but… There is just something missing. That nasty sound isn’t there anymore.
Cheers!
ACY
Posted at 09:41h, 01 AugustNasty´s a good word for that! AC/DC´s still a great band, but that pure right between the eyes sound died with Highway to Hell album. Never again they had that raw and nasty sound, all changed to that studio sound, what´s been a recorded live sound before. But I also like the older ones like High Voltage and Dirty Deeds, that´s pure plexi sound to me, and it´s great listening to Angus at that time, playing his leads with so low gain. Very cool solos at that time, all very melodic, like Rock´n´Roll singer, The Jack, most of these albums. That also changed in the later albums, but I guess it´s normal that a band is changing over the years. I been playing in an AC/DC cover band (that´s what we call it in Germany – but no Angus uniform – just the music) for about 10 years, and on stage could´nt wait until setlist came to Up to my neck in you, Gone Shootin, Down payment blues, … – hmmm, have to say now that Powerage´s my fav. album, yes!
Men va fan!
Posted at 18:42h, 23 FebruaryACY from “ACY’s Lounge”? In that case -Thanks for the great Tronebucker-pickups you sold me! Let there be twang 😉
OldSchoolRocker666
Posted at 19:19h, 30 JulyHow much does the difference (tonewise/circuit/sound-wise) between an JMP , master or not, from 1980 differ than earlier years, lets say 1977-79 ?
ACY
Posted at 09:19h, 31 JulyI would say not more than usual difference between amps in same production year. Marshall used different caps over the years, and sometime same production year have different caps either. So you find great sounding JMPs from all production years, and bad sounding ones too. For tha bad sounding ones there is reasons for that ypu have to sort out, and make ´em good sounding ones. For Angus sounds I really like good cranked up 1987 amps, but make sure you got the right voltage selected, by checking the real voltages inside the amp. Most older 1987 running on european voltages are put on 240V and not sounding good. Check out real voltage inside so you´re getting around 400V DC B+, and up to 6,7V AC for the heater. Then these amps really rock!
KT88: I do not like em, but that´s up to taste. I really love the SEDs, specially the older ones, that´s my Marshall sound as I´m grown up with. 😉
bmi
Posted at 15:02h, 29 JulyWow great work.
Thanks a lot Fil.
Ryley
Posted at 21:16h, 24 Julywhat about here? they’re using orange amps
http://www.youtube.com/watch?v=mWGp4pFrPIc
banane
Posted at 21:19h, 24 JulyYes, they weren’t so big back then and just had to use what the house provided them there.
Ryley
Posted at 21:39h, 24 Julyahh makes sense 🙂 great sound they got even with those amps, i hear the only real trouble with orange is that they break quite a bit :/
OldSchoolRocker666
Posted at 01:13h, 18 JulyHow would the sound change an 2203 (from 77-80) tonewise if you swiched tubes to KT88s and used a Schaffer Vega to boost it? Really curius if putting 4 KT88s in my own JMP from 1980 would make an interresting tone and if it would work 🙂
SoloDallas
Posted at 12:35h, 18 JulyI know for a fact that the svds will/would sound killer on all of these tube amps. I don’t know with KT88, but my feeling is that it’ll sound killer. Basically, the svds will add drive and medium range + compression
OldSchoolRocker666
Posted at 12:56h, 18 JulyHmmmm http://www.youtube.com/watch?v=2Pl0NI2YjIo&feature=related Okey this aint a 2203 amp but based on this sounded great in my ears, let me hear what you think 🙂
Wondering if KT88s would work in an 2203 without changing major components like transformer and stuff like that, i think Jimmy Page used KT88s in his 1959 amp in early 70s if i recall correct so it should sound killer with such tubes in one, but i think they modified the amp to handle KT88s when they did it, not sure though.
Can’t wait to perhaps obtain a Black Vega! 🙂
JaiminhoPagina
Posted at 02:59h, 01 AugustHey 🙂
I think you will have to make some adjustments/ changes, since the KT88s will bring the 2203 up to 200w RMS (or even more, when driven).
It’s mainly the output transformer and BIAS that will need some attention (maybe more things – I’m not an amp tech xD). If you don’t change the OT tranny, the chances of blowing it are really big.
Yeah. JP used KT88s in his amps at some point. Not sure when though.
And I second that! xD (Although my bank account says otherwise) 🙁
OldSchoolRocker666
Posted at 11:01h, 20 AugustBut can i really use the amp then since i have a 120 watt halfstack? Will i not need a second cabinet to drive the amp?
I have thoughts of putting in Generalex Gold Lion KT88s in my 100 watt JMP from 1980, original tubes i think is 6550s, they’re great, but i would like to try out KT88s, it’s more like a tube swich and not a mod to make it a 200 watt amp i’am after, but i get it i will need to change some stuff for it to work, i talked to a modder who can do it.
I’ve read that some KT88s wont break up easily untill very high volume, but since that’s just what my motto is ”PLAY LOUDER THAN EVERYTHING ELSE” i don’t think it will matter, Generalex also make KT88s in different versions, some with more headroom and less tube breakup and some that breaks up easier and i’ve heard they are reliable for being KT88s, so i’am seriously thinking to try them out 🙂
But will they be able to handle a boost unit? The original Marshall Major couldn’t handle boost units, don’t know if it’s the tubes or something else but the tubes themselves should handle it, or will they not?
banane
Posted at 13:34h, 20 AugustWell, either a second cab or one cab with G12T75 speakers or an attenuator, yes.
But are you really planning to run a 200W amp fully cranked?
OldSchoolRocker666
Posted at 14:21h, 20 AugustWell the modder said the tube change will ”only” bring it to 115 watt, i use a 120 watt cabinet but not sure if it will be enought.
Not making a Marshall Major, just changing tubes that’s all 😀