I don’t really know how to answer this! I combined my experience with my instinct and used my ears to decide what worked. How did you place the mics? what kind of distance from the cabinet was involved and how did you balance and blend the two mics together from a phase coherence perspective? did you adjust this dependant on the song or to the extenet to which the head cabinet combo was being driven volume wise? Yes – but we changed the combinations of head and cab to get the sound for each song. no other harmonizer will work!! I often use short delays to fatten up the sound of many instruments.Ĭouple of questions regarding the mic setup for the guitars.įirstly was it one cab per guitarist or was it a more involved setup? This was a real pain as it would fail to trigger sometimes. You are absolutely right! We fed a gated snare signal into an H910 detuned to about 93 with the feedback and anti feedback up. Would you feel comfortable expanding on that topic a little? To be more specific… What kind of settings did you generally use on those delays? And how far down did you detune on the H910? (which I assume was blended in with the original snare). I read somewhere that there were some delays and an eventide H910 involved. I had a follow up question about the drum sounds, if you don’t mind… I was particularly interested in how you got such great depth on the snare sound on that album. It’s an honor and a pleasure to have you here. Choosing a good place in the room helps and using good equipment (and applying some good old common sense) plays a part. When you do that then the musician plays better because they can hear the results of their efforts and then that makes you look good because that makes it sound even better still. I know this sounds a bit obvious but really the gtr sound comes from getting it right when it comes out of the amplifier and then recording it properly. The drums mics were O/H – U87 or U67, Snr top – KM86, Snr under – Shure SM57, Toms – Shure SM7, Kick – U47, Hats AKG 414 or 451.Īnd of course the most important components – AC/DC! I do have various preferred microphones but will always vary my choices to suit the room and the particular instruments. – the details about the recording of B in B are quite widely documented but the basics are. tony platt, the recording engineer, writes The Recording of Back in Black at Bahamas. The AC/DC sound – guitars, amps, and mics Let’s start with a video interview to make it more pleasant (video courtesy of member Kirk2000: thanks Kirk!): It’s a whole lotta reading, but I think you may be pleased. Recent re-reading of all of this on my behalf has brought me to new findings, namely, Tony Platt’s signal path for the Young brothers guitars on the Back in Black Album (guitars – Angus with a Schaffer-Vega Diversity System in lieu of a normal cable: it DID affect TONE!-, amps, mics, EQUALIZER and tape!) and his philosophy of recording those albums back then. I feel all of this information – already widely available on the net – has to be saved and stored for us. I’m posting the whole text here, then will provide the link(s) but not sure they exist all (i.e., clickbale). I’m seeing links disappear therefore for now, I’m posting “raw”, unfiltered and unprocessed (by me) data on the subject.
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