What you need here is a dynamic signal with a big, recognizable difference between quieter and louder parts of the song, otherwise you’ll just get lost in the mix. It might sound good on its own, but it’s not going to cut it in a gig situation.Ī highly compressed signal, by the way, can sound great for high gain solos – it’ll make your tone rich, smooth and even – but these are precisely the properties that we don’t want if we’re indulging in fat riffs that require a fast pick attack and tight rhythmic precision. However, what normally happens is, the higher the volume knob goes, the more your power amp starts to saturate, and the more compressed the signal gets. When you’re playing palm-muted riffs on the lower strings of your guitar, you often need to have the volume up to make the note definition ring out. In fact, it’s not uncommon to find a bass rig boasting 1000 Watts of power – imagine a guitar setup with that amount of oomph! Even a 50-watt guitar amp can compete with much more powerful bass stacks. It’s precisely for the reasons outlined above that bass amps are usually at least two or three times the power of guitar amps, without sounding noticeably louder onstage. (It’s an evolution thing, developed over millions of years so we hear things like our hungry babies crying in the night – but we’re getting a bit Darwinian here, so let’s move swiftly on!) This has got something to do with the human ear’s perception of volume – we’re much more sensitive to middle frequencies than bass signals.
For a great live tone, start by turning the mids up, and everything else down! Now read on and we’ll work from there.īasically speaking, the lower in frequency a signal is, the more energy needs to be expended to ensure that it is perceived as being as loud as a higher frequency signal. What you’ve got to do, then, is stop pummeling your poor eardrums and consider the following facts.īig amp, gain all the way up, Boost engaged, dirtiest channel selected, bass and treble up high, mids down low… and you’re all ready to fail spectacularly.
ANGUS YOUNG GUITAR RIG FULL
Surprisingly enough, it’s even more of an issue when you’ve done everything right (or at least thought you have): fat strings, big meaty humbuckers and a big, loud amp running at full throttle with maximum gain. Guitarists normally refer to compression in positive terms – it’s the effect that gives contemporary country guitar its twang, snap and pop for example – but at high gain and volume settings, it’s a tough beast to tame, especially when you’re indulging in bass string-heavy riffing. It may be loud, but it’s not distinctive, assertive, or attention-grabbing in any way. When they try to break out the riffs with the band, their guitar is lost in the mix, loud but sterile, overpowered by everything else. We’re always hearing from guitarists who share a similar problem: they’ve got a new guitar with hot pickups, a modern amp with plenty of power and even more gain on tap, and a full-on 4×12 stack – and they’re ready to rock out.īut their sound is limp. This simple, overused cliché might not always be true, but there’s a reason it gets used so much – because it’s often spot on. Now, we’re not saying all that power amp saturation is a bad thing – far from it – but read on to find out how turning it down just a little bit could inspire you to new levels of dynamic guitar tone… In fact, gain has become an essential tool for every 21 st century guitarist, as well something of a mask for sloppy players to hide behind. His first guitar was a 1970 or 1971 Gibson SG Standard finished in walnut and featuring a Lyre Maestro tremolo bridge.We all love a bit of gain, don’t we? Indeed we do, but it’s amazing how overused this one little control on our amps has become these days. In Young's case, his guitar choice is the Gibson SG, which he used basically from the start. Because you can clean it up [through a PAl and make it sound completely different than what they really sound like. A lot of times you'll hear bands and it's a different sound coming out than what's on stage. How does Angus Young get his sound?Īll the sound comes directly from the amps.
On top of that, you have Angus Youngs blues-inspired lead licks with the amp cranked up to ten. The bass drives the low-end and the rhythm from the drums and rhythm guitars is what really makes the tracks. The ACDC sound is quite dry, so you won't need modulation, delay or reverb pedals. Now, we have got the complete detailed explanation and answer for everyone, who is interested! This is a question our experts keep getting from time to time.
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