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Hells Bells — AC/DC1 / 2
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Hells Bells Riff Guitar Tone Settings — AC/DC

AC/DC · 1980s · rock

studio

Original Recording

Guitar
1970 Gibson SG Standard
Pickups
Gibson T-Top humbucking pickups
Amp
Late-’70s Marshall 2203 JMP 100-watt head with Marshall 4x12 cabinet loaded with Celestion G12M greenback speakers
Pickup Position
Bridge pickup

Studio recording, 1980. Used for the riff section of 'Hells Bells' on the Back in Black album. No pedals except Schaffer-Vega Diversity Wireless system (used as a wireless and boost/compression unit).

Amp Settings

Mids
6.5
Bass
5.5
Gain
5.5
Reverb
1
Treble
6
Presence
3

Effects Chain

  • Schaffer-Vega Diversity Wireless (boost/compression circuit) · boost

Guitar → Schaffer-Vega Diversity Wireless (boost/compression) → Marshall 2203 JMP 100-watt head → Marshall 4x12 cabinet

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Tone Character

  • crisp treble and crunchy overdrive
  • darker tones with fatter midrange
  • punchy attack
  • tight, percussive rhythm
  • open, dynamic response
  • articulate note separation
  • classic Marshall crunch
  • high mids and treble
  • slight compression from wireless unit
  • no pedal coloration

Notes & Caveats

  • ⚠️All settings are sourced directly from Guitar World, which cites studio recording details for 'Hells Bells' riff section.
  • ⚠️No pedals or time-based effects are used except the Schaffer-Vega Diversity Wireless system, which acts as a boost/compressor.
  • ⚠️No amp reverb or other amp-based effects are used; Marshall 2203 JMP does not have built-in reverb.
  • ⚠️Forum sources confirm 'no pedals' and 'just amp and wireless' for this recording.
  • ⚠️Settings are for studio recording, not live performances.
  • ⚠️If any effects are audible in the recording, they are the result of studio ambience or mixing, not the guitarist's signal chain.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. AC/DC's 'Hells Bells' features a classic Marshall crunch with moderate gain, strong mids, and slightly boosted treble/presence for bite and clarity. Bass is solid but not boomy, and reverb is minimal, reflecting the band's dry, punchy 1980 production and Angus Young's typical amp settings.

Sources