You Shook Me All Night Long Solo Guitar Tone Settings — AC/DC
AC/DC · 1980s · rock
studio
Original Recording
Studio recording for 'Back In Black' (1980). Angus Young used his main Gibson SG Standard into a Marshall 1959 Super Lead head, with a Schaffer-Vega Diversity System wireless unit (which acted as a preamp/boost/compressor). No effects pedals used except the Schaffer-Vega system, which was integral to the recorded tone. No evidence of time-based or modulation effects in the solo. Pickup selector set to bridge for the solo. Settings estimated from era, genre, and typical Marshall usage, as no direct numeric settings for this song/solo are available.
Amp Settings
Effects Chain
- Schaffer-Vega Diversity System (wireless preamp/boost/compression) · boost
Gibson SG Standard → Schaffer-Vega Diversity System (wireless preamp/boost/compression) → Marshall 1959 Super Lead → Marshall 4x12 cabinet
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Tone Character
- classic British crunch
- tight, punchy attack
- singing sustain
- dynamic, touch-sensitive response
- bright and articulate
- raw, uncompressed feel
- bridge pickup bite
- clear note separation
- slight compression from wireless preamp
- no audible time-based or modulation effects
Notes & Caveats
- No direct numeric amp settings for 'You Shook Me All Night Long' solo found in sources; settings estimated based on typical Marshall 1959 Super Lead usage for classic rock in the studio and era.
- No evidence of any pedals used except the Schaffer-Vega Diversity System (wireless preamp/boost/compression); no time-based or modulation effects audible or cited for the solo.
- Pickup choice (bridge) confirmed by user and video evidence, but not explicitly stated in official interviews for this song.
- Reverb set to 0 as Marshall 1959 Super Lead has no built-in reverb and no studio reverb is part of the guitar signal chain.
- Settings cross-referenced with genre and era conventions for accuracy. Angus Young's solo tone on 'You Shook Me All Night Long' is classic Marshall crunch: moderate gain, strong mids, tight but full bass, and a bright but not harsh treble. Presence is set to add clarity without harshness, and reverb is minimal as per the dry, punchy 1980 production style.