Update: Listened to you guys and re-did the drums levels. Plus added some compression on the drums, too (helps the punch). Huh?
If you’re wondering why I have been rather silent, it’s because I was still trying, and still trying, …
Back in Black. Probably one of the hardest songs to nail, ever. Two days – not full days naturally, as work is also there an’ all… but is it hard to play! Sounds “easy”, those three chords, but the timing is so groovy and physically unnatural to play (not to listen to and to hear, but to play) that I must have re-played it as a whole (bass, three guitars, including the Gretsch on the left side) maybe 10 times. Yet still, it’s not like the original.
I have to say that these drum loops I am using are really not good. Not punchy or groovy enough I think. Still. this is it.
I played it with the 1976 Super Lead, with an Ultimate attenuator at bedroom levels. Used the 1960B with blackbacks inside. This time I used two microphones, and the difference is amazing. I positioned them – I tried – the same way that Platt described (link here). Will post a picture asap. It MAKES a huge difference.
Then, I had to separately equalize the microphones, which means coping with six equalization patterns, two per guitar for all three guitars. I used the same EQ’s for the SG (on centre and right), but different, very different for the Gretsch, which has a totally different sound. Also, the amp settings for the Gretsch were altered, it required less “Volume”, down to 5.
Actually, I used the same volume for the SG but “boosted it” with a volume stompbox, just a volume boost, no extra gain, and I set the “tone” of the box (similar to a Klone) in the middle position, to try and boost mids.
You judge the results.
Will add more details later