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- Highway to Hell (AC/DC) – Video Lesson by JaiminhoPagina
- Girls Got Rhythm (AC/DC) – Video Lesson by JaiminhoPagina
- Hard as a Rock (AC/DC) – Video Lesson by JaiminhoPagina
- Love Hungry Man (AC/DC) – Video Lesson by JaiminhoPagina
- The Jack (AC/DC) – Video Lesson by JaiminhoPagina
- For Those About to Rock (AC/DC) – Video Lesson by JaiminhoPagina
- Let There be Rock (AC/DC) – Video Lesson by JaiminhoPagina
- Ride On (AC/DC) – Video Lesson by JaiminhoPagina
- Rock and Roll (Led Zeppelin) – Video Lesson by JaiminhoPagina
- Rock ‘n’ Roll Train (AC/DC) – Video Lesson by JaiminhoPagina
Posts tagged Audio Technica AT4047
UPDATE: Our friend and member Currentpeak has just found this superb interview in audio form where Powerage sound engineer Opitz describes how Angus recorded the album back then.
This is Currentpeak‘s understanding, I am posting his comment as a whole:
It is a Michael Butler’s (of Rock ‘n’ Roll Geek Show) interview with Mark Opitz. As we know, he was an audio engineer/mixer/producer for many Albert Productions’ artists including AC/DC, The Angels, Rose Tattoo = real rock royalty! Read more >
So… been meaning to shoot something like this for some time, here you have it.
It’s a long journey into what an attenuator can do for you, with powerful, loud tube amps (ONLY tube amps can be attenuated with an attenuator such as the Aracom).
Total of 6 videos, all being processed right now, here’s the one.
Thanks for viewing, yours,
1967 Gibson SG Standard on 1976 Marshall Super Lead through Aracom PRX150-DAG
Played with a 1976 Marshall Super Lead MkII attenuated with an Read more >
Here we are for the second appointment with Lynyrd Skynyrd’s Free Bird Solo.
The guitar featured in this tutorial is a 2010 Gibson R8 Les Paul Standard
played on a 1977 Marshall JMP 2204 attenuated with an Aracom PRX150 DAG
Just a couple of things to note, around 8 mins re: the lick at the twelfth fret G string. The ‘big’ bend is called a minor third bend. If you consider the G minor scale being G, A, Bb, C, D, Eb, F, G then bending the G at the twelfth to the A#(Bb) at the 15th is from the 1st note G to the (flat or minor) 3rd Bb.
At 20 mins or so, playing the 1st string G at the 15th and also the 2nd string 18th bent to G is called a ‘Unison bend’. It gives great emphasis to the note with the lighter string constant and the bent string oscillating around the note.
If you need to go to part one, you’ll find it here for convencience
Wireshark Cookie Dump:
Heh. I think I am getting closer.
Highway To Hell seems “easier” to get to in terms of tone replication. I am convinced strongly, more and more, that Angus recorded many parts with a Marshall 2203 or 2204.
Well, with the arrival of the Aracom PRX150 DAG (Power Attenuator) I can finally reach new heights. Why? Because this is a REAL attenuator, like I’ve never owned before (review coming soon). This attenuator – a passive one – lets me crank properly any amplifier power section – included the ones of MVs amps, such a 2203 or a 2204, as in the case with this video – and obtain finally proper sound. I know, I seem a bit too revolutionary, but please listen for yourself.
Welcome to www.solodallas.com Tutorials!
Today, I feel I can say a new era begins for solodallas.com: tutorials. I.e., what this place was born to make.
Tutorial Video, Part One
Sheesh… what was I waiting for before posting this?
Enjoy. We have stuff to study for a few months.
Guitar Amp Recording : August 2007
Guitar Amp Recording
Pro Techniques Put To The Test
Technique : Recording / Mixing
In our quest for the ultimate electric guitar sound, SOS tested favourite recording techniques from over 40 top-flight producers and engineers. Hear for yourself the results that amazed us.
I love reading interviews with engineers and producers, but the more of them I read, the more I come up against the basic problem that my brain is like a sieve. I’m forever thinking to myself “I really must remember that technique”, but unless I dash off and use it right away the knowledge just skips out of my ear and heads for the hills, probably glad to be free. And even if I vaguely remember reading a fascinating passage about de-essing nose-flutes, I’m damned if I can recall where I read it or who recommended it.
A few months ago, I decided that enough was enough, so I began to trawl systematically through Sound On Sound‘s interview archive, collating and comparing different producers’ views on a variety of recording and mixing topics. Being a glutton for punishment, I also waded through the 35-odd interviews in Howard Massey’s excellent book, Behind The Glass. Read more >