1973 1960B G12H30s And Some Boogie

Update: Adding Simone’s song backing track:


Update: adding another little thing I did for the wife’s birthday (next sunday). Used the ’50s Les Paul for all of it, and the Gibson “Dusk Tiger” for the acustic parts (piezo only).

I remember many times people asking me what were my originals like. This is what I have in mind usually.


Okay, it’s here. The cabinet I mean. That one that I said I had gotten because of the G12H30s. To close the circle that is, or at least, try.

So here’s what it looks like on top of my other 1960B now loaded with 1977 G12Ms “blackbacks”. The other cabinet, with the sand cloth is behind. I still love that one the most probably, especially for older AC/DC.

HOWEVER, G12H30s seem to be magnificent too, and there must be something AC/DC-ish in them. Must have been used somewhere, somehow. Too soon for me to say, will have to experiment (and I think you know I will).

I would do this as a job. To sit here in this little room of goodies and be always here on Will see what the future brings.

Room how it is now:

(Top: 1973 1960B G12H30s; Bottom: 1960B 1977 G12Ms “blackbacks” – they say it’s the same as the greenbacks)

And finally, while fixing this messy room, a picture of how I record at times and the mike (AT4047):

As you can see, when on its support it can’t be pushed all the way towards the cloth/speaker. It’s rather centered, but loads of experimentation (and actual recordings) are done with these microphones OFF axis (it’s on axis in the above picture). Still haven’t found the time to go and get the second XLR cable for the other microphone, would you believe it? Sigh. With two microphones I should be able to pull even further tones, like they did and do with AC/DC (and loads of other bands, just common technique).

It seems that for rhythm guitar the microphone should be touching the cloth, attached to it. While for solos, I read that it would be better to leave some room in between. We’ll find out.

Took the time to do a little “boogie” for ya. It’s played with the ’67 (new strings), all of it. I did equalize the guitars, so it’s too soon for you to try and assess which is which.

I will – however – do a clean recording of guitars alone, with the different cabinets, no equalization, same settings and all. It will be “the mother of all cabinet comparisons” (laughs).

“Old Boogie”:

and naturally, the backing track.

Boogie Away!


Fil 🙂