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rhythm guitar from “highway to hell” by ac/dc | ToneDB

highway to hell

ac/dc

rhythm guitar

90% ai confidence

Tone Profile

A raw, punchy, and articulate overdriven rhythm guitar tone with a distinct midrange growl and clarity, achieved through a cranked non-master volume amp. It's powerful yet surprisingly clean for the amount of perceived gain, allowing individual notes in chords to ring out.

Signal Chain

Instrument: 1963 Gretsch G6131 Jet Firebird ('The Beast', heavily modified, typically with bridge Filter'Tron pickup active)

Amp: Marshall JMP 1959 Super Lead 100W (non-master volume) or Marshall Super Bass

Microphone: Neumann U67 and/or Shure SM57 (often blended on one cabinet)

Processing: Schaffer-Vega Diversity System (wireless unit with built-in preamp/boost/compander circuit)

Other: Amp settings: Volume I & II inputs likely jumped and cranked. EQ to taste (e.g., Presence high, Bass low/moderate, Mids & Treble moderate/high). Marshall 1960A/B 4x12 cabinets with Celestion G12M-25 'Greenback' or G12H-30 speakers.

Recording Notes

  • Recorded in 1979 at Roundhouse Studios, London, and Criteria Studios, Miami, produced by Robert John "Mutt" Lange.
  • The Schaffer-Vega Diversity System (SVDS) wireless unit, used by both Angus and Malcolm Young, significantly shaped their tone due to its unique preamp section, adding compression, a slight boost, and a specific EQ curve.
  • Malcolm Young's rhythm parts were foundational, often double-tracked or complemented by Angus Young playing similar rhythm parts, creating a thick, wide guitar sound.
  • The core tone comes from the natural overdrive of the Marshall amps being pushed hard, not from distortion pedals.
  • Mutt Lange's production aimed for a cleaner, more powerful, and radio-friendly sound compared to their earlier albums, emphasizing clarity and punch.
  • Microphone placement was crucial, often combining dynamic and condenser mics on the same cabinet to capture a full frequency range.

Recreation Tips

  • Use a guitar with humbucker-style pickups; a Gretsch with Filter'Trons (for Malcolm's vibe) or a Gibson SG with PAFs (for Angus's vibe).
  • A Marshall Plexi-style amplifier (e.g., 1959SLP, JMP Super Lead) or a high-quality modeler emulation is essential. Non-master volume models are key.
  • Crank the amplifier volume to achieve power tube saturation. If volume is an issue, use a power attenuator.
  • Keep preamp gain relatively moderate if your amp has a master volume; the majority of the drive should come from the power section.
  • A replica or emulation of the Schaffer-Vega preamp (e.g., SoloDallas Schaffer Replica, Universal Audio SVDS plugin) can add the characteristic upper-mid boost and light compression.
  • Set EQ with a focus on midrange and presence. Bass is usually not overly prominent to maintain clarity in chords.
  • Avoid using modern high-gain distortion pedals; the sound is about amp overdrive.
  • Consider playing with a firm pick attack and focus on tight, precise rhythm playing.

Sources