[Angus Young] How to Recreate the AC/DC Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Angus Young, the lead guitarist of AC/DC, is one of the most iconic figures in rock history. His small stature, dressed in a schoolboy outfit while wielding his SG guitar, has left a lasting impression on fans as he energetically roams the stage.

His sound is characterized by the use of Marshall amplifiers, producing a clean to crunchy tone, with dynamics controlled solely through his guitar and picking technique. Iconic tracks like “Highway to Hell,” “Back in Black,” and “Thunderstruck” showcase his straightforward, punchy crunch sound, free from excessive distortion or effects.

Additionally, Angus achieves a tight response by using thicker gauge strings, creating a unique crunch that supports sharp rhythms in backing and powerful, melodic leads in solos.

The essence of his sound lies in “eliminating unnecessary elements.” Angus Young’s tone is built on a delicate balance of three components: guitar, amp, and picking.

▶ Search official YouTube videos of AC/DC

List of Amplifiers and Features

The core of Angus Young’s sound is undoubtedly the Marshall amplifier. Since the 1970s, he has primarily used the “Marshall 1959 Super Lead 100W,” whose explosive crunch sound has become synonymous with AC/DC. His style involves cranking the 100W head to full volume, manipulating the clean to crunch transition solely through his picking dynamics.

For recording, he is believed to have used the “Marshall JMP50” and “JTM45,” which provide a saturated sound at lower outputs. Recently, smaller reissue models like the “Marshall Studio series (ST20, SV20)” and “Marshall Origin series” have also been speculated to be used, making them suitable for home or small studio recreations.

There have also been periods where he incorporated a rack system with the “Marshall JMP-1” preamp and the “Marshall EL34 100/100” stereo power amp, suggesting that he has adapted his setup based on the live environment and venue size.

Thus, Angus’s choice of amplifiers has consistently leaned towards Marshall, selecting models that balance thickness and clarity based on the intended use.

Types of Guitars Used and Features

When it comes to Angus Young, the image of the “Gibson SG” is incredibly strong. He primarily uses models from 1967 to 1969, which are lightweight and compact, fitting perfectly with his small stature (standing at 157 cm). This allows him to endure the intense action on stage while maintaining a thick tone and excellent response.

Particularly, the “Gibson SG Standard ’61” is one of his iconic models, featuring classic PAF-style pickups that deliver the perfect tone for crunch sounds. The more affordable “Epiphone SG Standard” has also emerged, featuring a large pickguard design reminiscent of late 60s models, allowing players to enjoy the SG look and sound at a more accessible price.

On the pickup side, the “Seymour Duncan High Voltage HB” is noteworthy. Named after AC/DC’s first album “High Voltage,” this model employs Alnico II magnets and is designed for low output, closely resembling PAF characteristics. This design is optimal for achieving Angus’s unique “thick yet not overly distorted” crunch.

Angus also uses thicker gauge strings to ensure a tight response, allowing for powerful picking without losing the core of the sound. This combination supports a simple yet robust rock sound.

Effects and Pedalboard Setup

Angus Young’s effects setup is quite simple, primarily connecting directly to the amp. Most of AC/DC’s songs rely on the “crunch sound of Marshall amps” and the manipulation of the guitar itself, reflecting the nuances of his picking without excessive distortion.

Notably, the “Schaffer-Vega Diversity System” plays a crucial role. Originally a wireless system, it adds compression and saturation, functioning as a hidden booster in Angus’s sound. The powerful tones in tracks like “Back in Black” and “Highway to Hell” are significantly influenced by this equipment.

For modulation, he uses the “MXR Phase 90,” which adds a subtle wavering to lead plays, evident in songs like “Let There Be Rock” and “Riff Raff.” This simple addition enhances the live energy without complicating the setup.

There are also records suggesting he has used the “T-Rex Overdrive” as an auxiliary effect, intended to add thickness to the crunch sound. However, the primary distortion is derived from the Marshall amp, making this an auxiliary choice.

Overall, Angus’s pedalboard is not complex, consisting of “wireless + light modulation + booster elements,” embodying the simple aesthetics of rock and roll.

Tone Settings, EQ, and Mixing Approaches

Angus Young’s tone crafting may seem straightforward as “directly connecting to Marshall,” but it involves meticulous nuance control and engineering ingenuity. A significant feature is his reliance on “creating dynamics through picking and guitar volume control rather than depending on amp distortion.” This means he controls the clean to crunch and lead transitions solely through the strength of his picking.

For instance, when using the Marshall 1959 Super Lead 100W, he typically sets the volume around 7-8 to achieve natural power tube distortion. The EQ settings are generally as follows:

• Bass: 3-4 (keeping low frequencies subdued for tightness)
• Middle: 6-7 (boosting midrange to enhance the guitar’s presence)
• Treble: 6-7 (emphasizing attack without becoming harsh)
• Presence: 5-6 (adjusted for clarity in live settings)

This EQ balance achieves a sound that does not get buried in the band ensemble while remaining comfortable for the ears. Particularly in AC/DC’s two-guitar setup, the separation with rhythm guitarist Malcolm Young is crucial, with Angus pursuing a brighter, more pronounced setting.

Looking at specific songs, “Back in Black” emphasizes midrange to bring the lead lines forward, while “Highway to Hell” often features settings that prioritize tightness in rhythm, with lower bass. In songs like “Thunderstruck,” which rely heavily on light-hand techniques, he keeps the gain lower to highlight the nuances of his picking.

In recording, a combination of “Shure SM57” and “Neumann U67” microphones is often used to capture the amp’s explosive sound. The SM57 captures the core of the speaker, while the U67 records the airiness and overtones, creating strength and depth throughout the album.

During mixing, midrange is accentuated through EQ processing, while compression is kept minimal to respect the natural dynamics. This approach maximizes Angus’s control over his picking, preserving the “human fluctuations.” Additionally, panning places Angus’s lead to one side, contrasting with Malcolm’s rhythm to create AC/DC’s unique spatial sound.

Overall, Angus Young’s tone crafting emphasizes “meticulous EQ management” and “maintaining natural dynamics in mixing,” blending technical ingenuity with the player’s expressive capabilities.

Affordable Alternatives to Recreate the Tone

To fully replicate Angus Young’s sound, one would typically need high-end gear like vintage Gibson SGs or Marshall 1959 Super Leads. However, there are numerous ways for beginners to intermediate players to achieve a similar “AC/DC-style crunch sound” at a relatively low cost. Here, we introduce gear that can be acquired for under $1,000, explaining how each contributes to achieving Angus’s signature tone.

For guitars, the “Epiphone SG Standard” is a top contender. Epiphone is a direct subsidiary of Gibson, and it closely follows SG’s characteristics, such as the large pickguard and thinner body structure. Despite its lower price, it is lightweight and easy to play, making it suitable for those who engage in vigorous stage action like Angus.

For amplifiers, the “Marshall DSL20CR” or “Marshall Origin 20C” are recommended. These 20W class amps are user-friendly for home or studio practice and can cover a wide range from clean to crunch through EQ and gain adjustments. The Origin series, in particular, modernizes the classic Marshall tone, allowing players to experience the character of the 1959 Super Lead in a compact form.

For effects, the “MXR Phase 90” is a staple. Having been used by Angus, it features a simple one-knob operation to add a light wavering effect. Additionally, options like the “BOSS SD-1 Super OverDrive” or “Joyo JF-01 Vintage Overdrive” can effectively enhance the low-output guitar and Marshall amp sound. These serve as boosts to push the crunch range, creating the Angus-like “dynamic distortion” that changes with playing style.

For those looking for an all-in-one solution, multi-effects units like the “BOSS GT-1000CORE” or “Line 6 HX Stomp” are also recommended. By combining amp simulations with phaser effects, players can get remarkably close to the AC/DC sound at an affordable price.

In summary, combining an “Epiphone SG + Marshall Origin series + MXR Phase 90” can realistically recreate Angus’s tone. Adding booster effects can further enhance the live feel of the crunch.

Summary and Conclusion

The essence of Angus Young’s tone crafting lies in “simplicity” and “maximizing the player’s dynamics.” Based on the combination of Marshall amps and Gibson SGs—essentially the cornerstone of rock and roll—he eliminates unnecessary effects and manipulates tone through his picking and the guitar’s volume knob, which is the core of the AC/DC sound.

His sound does not rely on flashy high-gain or complex effects; rather, it is defined by “controlled crunch” and “raw nuances.” For instance, the sharp riffs in “Back in Black,” the tight rhythm in “Highway to Hell,” and the overwhelming energy in “Thunderstruck” are all products of the dynamics created by simple settings.

Moreover, the role of sound within the band is a significant point. Angus handles the leads while his brother Malcolm Young supports the rhythm, allowing the two guitars to complement each other, creating a simple yet thick sound. This “sound structure that utilizes space” is an important aspect to consider when attempting covers or reproductions.

When aiming for replication, it is not necessary to have vintage SGs or a 1959 Super Lead. Just combining an Epiphone SG, Marshall Origin series, and some affordable overdrives or phasers can get you quite close to the “Angus sound.” What matters more than the gear is the control over nuances in picking and rhythm.

In summary, Angus Young’s tone crafting philosophy is based not on “the luxury of gear” but on “maximizing the player’s expressive capabilities.” If you are pursuing his sound, focusing on simple gear to refine your “playing style” and “dynamics” will be the most effective shortcut.