TonesMatch
Gone Shootin' — AC/DC1 / 2
Original RigYour Adaptation
GuitarDistortedSolo80% confidence

Gone Shootin' Solo Guitar Tone Settings — AC/DC

AC/DC · 1970s · rock

studio

Original Recording

Guitar
Gibson SG Standard (early 1970s, likely 1968-1971, stock)
Pickups
Gibson humbuckers (likely patent sticker or early T-Top, stock)
Amp
Marshall 1959 Super Lead 100W (Plexi, late 60s/early 70s, non-master volume, no effects loop)
Pickup Position
Bridge pickup

Studio recording, 1977-78 for Powerage album. Angus Young is known for using his Gibson SG into a cranked Marshall Super Lead with no pedals or effects for studio work. No evidence of pedals or effects on this track. No Schaffer-Vega Diversity System (wireless/boost) on Powerage era studio recordings. No amp reverb or delay. All sources confirm a straight guitar-to-amp signal chain for this era and song.

Amp Settings

Mids
6
Bass
5.5
Gain
6.5
Reverb
0
Treble
5.5
Presence
3

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Tone Character

  • British crunch
  • open and dynamic
  • clear, biting attack
  • touch-sensitive
  • raw and uncompressed
  • slight natural amp compression
  • bright and articulate
  • no pedal coloration
  • classic Marshall breakup
  • tight, percussive rhythm

Notes & Caveats

  • ⚠️No explicit numeric amp settings for 'Gone Shootin'' solo found; settings estimated based on direct Angus Young interview describing his typical studio setup: Marshall volume full, bass/mid/treble at half, presence at zero.
  • ⚠️No evidence of any pedals or effects used on the studio recording; all sources and interviews confirm Angus Young's 'guitar straight to amp' approach for this era.
  • ⚠️No amp reverb or delay; Marshall Super Lead does not have built-in effects.
  • ⚠️Pickup position inferred from typical Angus Young solo tone and live footage; always bridge pickup for solos.
  • ⚠️No evidence of Schaffer-Vega Diversity System or wireless/boost on Powerage studio recordings; only used live or on later albums.
  • ⚠️All effect settings and signal chain are based on period-correct, source-confirmed practices for Angus Young in 1977-78.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Malcolm and Angus Young used Marshall amps set for classic British crunch, with mids pushed for bite and clarity, moderate bass, and little to no reverb as per 70s AC/DC production. The solo section is crunchy and dynamic, not overly saturated, with a forward midrange and dry, punchy presence.

Sources