TonesMatch
Sin City — AC/DC1 / 2
Original RigYour Adaptation
GuitarDistortedRiff80% confidence

Sin City Riff Guitar Tone Settings — AC/DC

AC/DC · 1970s · rock

studio

Original Recording

Guitar
1968 Gibson SG Standard
Pickups
Gibson humbuckers (likely patent sticker T-tops, stock for late 60s SGs)
Amp
Marshall Super Lead 1959 100-watt head (Plexi, late 60s/early 70s, into Marshall 4x12 cabinet with Celestion Greenbacks)
Pickup Position
Bridge pickup

Studio recording, 1978 (Powerage album). Angus Young's signal path for 'Sin City' riff is confirmed as SG straight into Marshall Super Lead, no pedals or effects except possible Schaffer-Vega wireless preamp coloration. No evidence of pedals or amp effects on the riff section. All sources agree on minimal/no pedals for this era and song.

Amp Settings

Mids
5
Bass
4.5
Gain
5.5
Reverb
0
Treble
5
Presence
3.5

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Tone Character

  • British crunch
  • raw and punchy rhythm
  • tight, percussive attack
  • open, dynamic response
  • clear note separation
  • minimal compression
  • midrange bite
  • slight natural breakup
  • no pedal coloration
  • classic rock rhythm

Notes & Caveats

  • ⚠️No direct studio amp knob photos for 'Sin City' riff, but multiple sources confirm Angus Young's rig was SG into Marshall Super Lead with no pedals or effects for this era and song.
  • ⚠️Amp settings are based on a reliable forum post referencing a rig rundown (Source 2), but may vary slightly from the exact studio session.
  • ⚠️No evidence of any pedals or amp effects (reverb, delay, modulation) used on the riff section; all sources and audio confirm a dry, direct amp tone.
  • ⚠️If Schaffer-Vega wireless preamp coloration was used, it would be subtle and not a pedal/effect in the traditional sense.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Malcolm and Angus Young used Marshall amps set for crunchy, mid-forward British rock tones with little to no reverb, as heard on 'Sin City.' The tone is tight, punchy, and articulate, with moderate gain, strong mids, and a balanced top end typical of late-70s AC/DC studio recordings.

Sources