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Angus Young stands as one of rock’s most iconic guitarists, his schoolboy-uniform-clad figure and duckwalk becoming as legendary as the blistering riffs that defined AC/DC’s sound for over five decades. Throughout his remarkable career, Angus has maintained a surprisingly simple yet incredibly effective approach to gear, relying primarily on Gibson SG guitars and Marshall amplifiers to create one of the most recognizable guitar tones in rock history.
What makes Angus Young’s gear setup particularly fascinating is its consistency and purposeful simplicity. Unlike many rock guitarists who constantly chase new tones through complex pedalboards and ever-changing equipment, Angus found his signature sound early and refined it rather than replaced it. His gear philosophy has always been about maximum impact with minimum complexity – plug in, turn up, and deliver raw, unfiltered rock and roll energy.
The foundation of Angus Young’s iconic sound consists of just three essential elements: a Gibson SG guitar (usually without pickup covers), a cranked Marshall amplifier, and the Schaffer-Vega wireless system that serves as his only “effect.” This deceptively simple setup has powered AC/DC through 17 studio albums and countless world tours, proving that tone comes from the player’s hands and approach rather than an arsenal of equipment.
As one of rock’s wealthiest guitarists, Angus could afford any gear imaginable, yet he remains faithful to the equipment that helped define AC/DC’s legendary status. Throughout this comprehensive guide, we’ll explore every aspect of Angus Young’s gear, from his vintage 1960s Gibson SGs to the nine Marshall amplifiers that power his live shows, and examine how this seemingly simple setup creates one of rock’s most powerful and distinctive guitar tones.
Angus Young’s association with Gibson SG guitars is not just a preference – it’s the cornerstone of his identity as a guitarist. The SG’s distinctive double-cutaway design, powerful humbucking pickups, and comfortable neck profile made it the perfect vehicle for Angus’s aggressive playing style and high-energy stage performance. Over the decades, Angus has owned and played numerous SG models, each with its own story and unique characteristics that contributed to his evolving sound.
The 1970 Gibson SG Standard stands as Angus’s most significant and frequently used guitar. Purchased in 1971 from a second-hand shop in Sydney, Australia, this guitar became his primary instrument throughout AC/DC’s formative years and featured prominently on early albums like “High Voltage” and “T.N.T.” This particular SG originally came with standard Gibson humbuckers, but Angus removed the pickup covers early on – a modification that would become his trademark across all subsequent guitars. The guitar’s slim taper neck and lightweight mahogany body made it ideal for Angus’s energetic stage antics, while the powerful humbuckers provided the thick, aggressive tone that defined AC/DC’s early sound.
During the “Highway to Hell” era (1978-1979), Angus began using a distinctive red Gibson SG Standard that was actually a factory second model. This guitar featured a slightly different finish and construction quality but delivered the same powerful tone Angus required. The red factory second SG became particularly significant as it was the primary guitar used on “Highway to Hell,” the final album with original vocalist Bon Scott. Its raw, biting tone can be heard throughout tracks like “Highway to Hell” and “Touch Too Much,” showcasing how subtle variations in SG construction could produce nuanced differences in Angus’s core sound.
The early 1980s marked a significant evolution in Angus’s guitar collection with the introduction of the 1970 Gibson SG Custom in black. Originally finished in walnut, this guitar was refinished to black during the “Back in Black” era, symbolizing AC/DC’s transition from the Bon Scott era to the Brian Johnson era. The SG Custom differed from Angus’s previous Standards with its three-pickup configuration, gold hardware, and body binding. However, true to form, Angus quickly removed the middle pickup and pickup covers, effectively converting it to a two-pickup configuration that matched his preferred setup. This black SG Custom would become one of his most recognized guitars, featured prominently on the “Back in Black” album and tour.
In 1981, Angus expanded beyond Gibson with the introduction of a custom SG built by British luthier John Diggins of Jaydee Guitars. The Jaydee Custom SG, first seen at the Donington Monsters of Rock festival, featured distinctive lightning bolt inlays and custom-wound “Hooligan” pickups designed specifically to replicate Angus’s preferred tone. This guitar demonstrated Angus’s willingness to explore variations on the SG theme while maintaining the core characteristics he required. The Jaydee guitar became particularly notable for its slightly hotter output and unique visual aesthetics, offering a subtle tonal alternative to his Gibson models while preserving the essential SG characteristics.
The 1990s brought another significant addition to Angus’s collection with the acquisition of a black refinished 1960s Gibson SG Standard. This guitar, originally finished in cherry red, was stripped and refinished in black to match Angus’s aesthetic preferences. What made this particular SG special was its earlier manufacturing date – 1960s models are often considered superior due to their wood aging and craftsmanship. This guitar featured a stop tailpiece (versus the vibrato found on some models) and became Angus’s primary instrument during the “Razors Edge” and “Ballbreaker” tours, representing his return to vintage Gibson SGs after experimenting with other options.
Throughout the 2000s and 2010s, Angus continued to rely primarily on his trusted Gibson SGs while occasionally incorporating signature models and variations. Gibson released several Angus Young signature SG models, designed to replicate his preferred specifications while making them available to the public. These signature models typically featured the Angus-approved modifications: no pickup covers, simplified electronics, and finishes matching his famous guitars. However, Angus himself remained faithful to his original vintage instruments, particularly the black 1970 SG Custom and various 1960s Standards that had served him throughout his career.
For recent tours including “Rock or Bust” and “Power Up,” Angus has continued using his core collection of Gibson SGs while incorporating modern reliability improvements. His current stage setup typically includes several identical-looking SGs (primarily black and red models) set up for different tunings and backup purposes. While the outward appearance remains consistent, subtle variations in pickup types, wiring configurations, and neck profiles help Angus achieve consistent tone across different performance conditions and venues.
Marshall amplifiers have been inseparable from Angus Young’s sound since AC/DC’s earliest days, providing the raw power and harmonic complexity that forms the foundation of his iconic tone. Unlike many guitarists who use multiple amplifier brands and models, Angus has remained remarkably loyal to Marshall, with the 1959 Super Lead model serving as his primary amplifier throughout most of his career. This consistency has resulted in a deeply familiar and instantly recognizable guitar tone that has remained largely unchanged for over 50 years.
The Marshall 1959 Super Lead 100-watt head stands as Angus’s most used and important amplifier. Originally introduced in the late 1960s, this non-master volume amplifier became the cornerstone of rock guitar tone, prized for its thick distortion, aggressive midrange, and ability to cut through dense mixes. Angus typically runs his Super Lead heads at near-full volume, driving the power tubes into natural saturation and creating the singing sustain and harmonically rich overdrive that characterizes his solos. These amplifiers are typically paired with Marshall 4×12 cabinets loaded with Celestion speakers – originally G12M Greenback models, later evolving to include G12-65 and other variants for different tonal characteristics.
The Marshall JMP 2203 Master Volume model became Angus’s amplifier of choice during the late 1970s and early 1980s, particularly during the “Back in Black” era. The JMP 2203 introduced a master volume control, allowing Angus to achieve his desired overdrive at lower stage volumes while maintaining the tonal characteristics of the earlier Super Lead models. These amplifiers were used extensively on “Back in Black” and subsequent albums, providing a slightly tighter and more controlled distortion compared to the rawer Super Lead sound. Angus’s JMP 2203 heads were often modified to his specifications, removing unnecessary features and optimizing the circuit for his playing style.
One of the most distinctive aspects of Angus Young’s live setup is his use of multiple Marshall amplifiers simultaneously – typically nine identical heads arranged on stage. This seemingly excessive setup serves practical purposes rather than providing different tones. The amplifiers are connected in series and parallel configurations, with some serving as backups while others contribute to his massive stage volume and tonal complexity. The nine-amp setup also ensures redundancy during live performances – if one amplifier fails, others can maintain the sound without interruption. This approach reflects Angus’s “no compromises” philosophy toward live performance, where reliability and consistency are paramount.
During the 1990s and 2000s, Angus briefly experimented with Wizard Modern Classic amplifiers, hand-built by Canadian amp designer Rick St. Pierre. These amplifiers were essentially refined versions of the Marshall circuit, offering improved reliability and consistency while maintaining the essential Marshall character. The Wizard amps were used during the “Black Ice” and “Rock or Bust” tours, representing a modern update to Angus’s classic sound. However, Angus eventually returned to traditional Marshall amplifiers, demonstrating his preference for the original design despite the technical improvements offered by modern alternatives.
Angus’s amplifier settings have remained remarkably consistent throughout his career, typically following a simple formula that maximizes natural tube distortion. The presence control is usually set high (7-8) for definition and edge, while the bass and treble controls are balanced to provide full-range response without muddiness. The key to his tone lies in driving the amplifier’s power section rather than preamp tubes, resulting in a more dynamic and responsive distortion that reacts to playing dynamics. This approach requires high volume levels but produces the singing sustain and harmonic complexity that defines Angus’s lead playing.
Cabinet configurations have played an important role in shaping Angus’s live sound, with various combinations of 4×12 cabinets used to project his tone in different venues. Typical setups include straight and angled cabinet combinations, creating a wide stereo spread and ensuring consistent sound coverage across large venues. The cabinets are typically loaded with Celestion speakers in various configurations, with the choice of speaker model significantly affecting the overall tone character. Early cabinets used G12M Greenbacks for their warm, woody tone, while later incorporations of G12-65 and Heritage speakers added different tonal colors to his sound.
The relationship between Angus’s guitars and amplifiers represents a perfect match of instruments designed to work together at high volumes. The Gibson SG’s mahogany construction and humbucking pickups naturally complement the Marshall amplifier’s midrange-heavy character, creating a focused yet full-range tone that cuts through mixes without harshness. This synergistic relationship has remained constant despite minor variations in specific models and configurations, demonstrating Angus’s deep understanding of how these components work together to create his signature sound.
Despite the complexity of modern guitar rigs, Angus Young’s effects setup remains remarkably minimal, consisting primarily of a single piece of gear that serves both practical and tonal purposes. This approach reflects Angus’s philosophy of achieving maximum impact with minimum complexity, relying on his playing technique and natural amplifier overdrive rather than signal processing to create his distinctive sound. The few accessories and effects Angus does use have remained consistent throughout his career, becoming integral components of his signature tone.
The Schaffer-Vega Diversity System stands as the only “effect” Angus Young has consistently used throughout his career. Originally developed in the 1970s as a professional wireless system for guitarists, the Schaffer-Vega became famous not just for its wireless capabilities but for the subtle tone enhancement it provides. The system’s preamp section adds a slight boost and compression to the guitar signal, contributing to the sustain and definition characteristic of Angus’s sound. While originally chosen for the freedom of movement it provided during live performances, Angus discovered that the Schaffer-Vega’s tonal characteristics were essential to achieving his preferred sound, even in recording situations where wireless capability wasn’t necessary.
What makes the Schaffer-Vega system particularly significant is that it’s not actually an effect pedal but rather a wireless system with beneficial tonal side effects. The system’s circuitry adds approximately 3-6dB of gain while slightly compressing the signal, resulting in improved sustain and note definition. This subtle enhancement helps Angus’s guitar cut through dense mixes while maintaining clarity and presence. The system has become so integral to his sound that Angus continues to use original units or carefully designed replicas, even when wireless transmission isn’t required. Modern alternatives exist, but Angus prefers the specific characteristics of the original Schaffer-Vega design.
String selection plays a crucial role in Angus’s technique and tone. Throughout most of his career, Angus has used light gauge strings, currently favoring Ernie Ball Super Slinky sets in 9-42 gauge. This relatively light string gauge allows for the fast lead work and aggressive rhythm playing that characterize his style while maintaining the flexibility needed for his signature vibrato and bending techniques. Earlier in his career, Angus used Dean Markley strings in similar gauges, switching to Ernie Ball during the 2000s for consistency and availability. The light gauge strings contribute to the treble-rich, cutting quality of his tone while allowing the rapid fretting techniques essential to AC/DC’s sound.
Picks represent another essential component of Angus’s sound, with his choice being Fender Extra Heavy models in the classic 351 shape. These relatively thick picks provide the stiffness needed for aggressive rhythm playing while allowing the precise control required for intricate lead work. The thickness of the pick contributes to Angus’s articulate attack and helps achieve the consistent tone across his dynamic range. The tortoise shell material and indented Fender logo provide grip during his energetic live performances, ensuring the pick remains secure even during the most physically demanding moments of his show.
Cables and connectors, while often overlooked, play an important role in Angus’s signal chain. He uses high-quality, low-capacitance cables that preserve the high-frequency content of his guitar signal while maintaining noise-free performance. The cable choice becomes particularly important given the long cable runs required for his live setup and the high-impedance nature of his guitar-amplifier connection. Angus’s preference for simple, reliable connections reflects his overall approach to gear – quality without complexity, reliability without compromise.
The absence of traditional effects pedals in Angus’s setup represents a deliberate choice rather than an oversight. While many rock guitarists use elaborate pedalboards for various effects, Angus achieves all desired tones through his playing technique, amplifier settings, and the Schaffer-Vega system. This approach results in a more direct and responsive connection between his hands and the amplified sound, allowing greater dynamic control and expressiveness. The purity of his signal chain ensures that every nuance of his playing is preserved rather than masked by signal processing, contributing to the raw, immediate quality that defines his guitar tone.
The evolution of Angus Young’s guitar rig over five decades tells a story of remarkable consistency rather than constant change. Unlike many guitarists who continually chase new tones through changing equipment, Angus found his signature sound early and refined it rather than replaced it. This consistency has created one of the most recognizable and enduring guitar tones in rock history, with subtle refinements rather than radical transformations marking the evolution of his setup through different eras of AC/DC’s career.
The early AC/DC era (1973-1979) established the foundation of Angus’s sound that would persist throughout his career. During this period, he primarily used his 1970 Gibson SG Standard through early Marshall amplifiers, creating the raw, aggressive tone that powered albums like “High Voltage,” “T.N.T.,” and “Highway to Hell.” The setup was simple by necessity – SG into Marshall with minimal processing – but this simplicity proved to be the key to its effectiveness. The addition of the Schaffer-Vega wireless system in 1977 added mobility and a subtle tonal enhancement that would become integral to his sound. This era established the core elements that would define Angus’s tone: Gibson SG, Marshall amplifier, light gauge strings, and the Schaffer-Vega system.
The “Back in Black” era (1980-1983) marked significant changes in AC/DC’s lineup but remarkably little change in Angus’s core sound. The transition from Bon Scott to Brian Johnson as vocalist required musical adjustments, but Angus’s gear approach remained consistent. The black refinished 1970 SG Custom became his primary guitar during this period, while the Marshall JMP 2203 Master Volume amplifiers replaced the earlier Super Lead models for better control over stage volumes. The fundamental SG-into-Marshall formula remained unchanged, demonstrating Angus’s commitment to his established sound even during major transitions. This period also saw Angus begin using multiple identical amplifiers on stage, setting the pattern for his future live setups.
The mid-career period (1984-1999) brought subtle refinements to Angus’s setup while maintaining the core elements. The introduction of the Jaydee Custom SG in the early 1980s provided an alternative to his Gibson models while preserving the essential SG characteristics. The “Razors Edge” and “Ballbreaker” albums saw Angus returning to vintage 1960s SG Standards, rediscovering the tonal qualities of earlier Gibson models. This era also marked Angus’s brief experimentation with Wizard amplifiers, demonstrating his willingness to explore modern alternatives to vintage Marshall designs while maintaining his core tonal approach. Throughout these changes, the fundamental SG-Marshall combination remained constant, with variations providing subtle tonal colors rather than radical changes.
The modern era (2000-present) has seen Angus continuing to refine his established sound while embracing some modern conveniences. Gibson’s release of Angus Young signature models provided officially sanctioned replicas of his preferred specifications, though Angus himself continued to use his original vintage instruments. The return to Marshall amplifiers during the “Rock or Bust” tour reaffirmed his commitment to the original design despite earlier experiments with alternatives. Current tours typically feature multiple identical SGs prepared for different tunings and backup purposes, demonstrating Angus’s attention to consistency and reliability in live performance. The introduction of modern wireless technology has provided improvements to the Schaffer-Vega system while maintaining its essential tonal characteristics.
Throughout this evolution, certain constants have remained unchanged: the preference for Gibson SG guitars, loyalty to Marshall amplifiers, use of light gauge strings, and the presence of the Schaffer-Vega system. What has changed is the refinement of these elements – better understanding of how they work together, improved reliability through backup systems, and subtle modifications to optimize performance. This evolution without revolution approach has resulted in a sound that is both timeless and contemporary, demonstrating Angus’s deep understanding of what works and willingness to refine rather than replace successful formulas.
The difference between Angus Young’s studio and live setups reveals a fascinating aspect of his approach to guitar tone – the studio setup is often simpler and more focused than his elaborate live configuration. While live performances require multiple backup systems and massive volume levels, studio recordings typically use a more streamlined approach designed to capture the pure essence of his tone without the complications of live performance requirements. This distinction highlights Angus’s understanding of different acoustic environments and his ability to adapt his approach while maintaining his core sound.
In the studio, Angus typically uses a single guitar and amplifier combination rather than the multiple rigs employed for live shows. The recording setup usually consists of his primary SG (often the black 1970 Custom) connected to a carefully selected Marshall head (commonly a Super Lead or JMP 2203). This simplified approach allows for greater control over the recording process and ensures consistent tone across different takes. The absence of backup systems and redundant equipment means fewer variables in the signal chain, resulting in a cleaner, more focused guitar sound that can be precisely positioned in the mix.
Microphone techniques play a crucial role in capturing Angus’s studio tone, typically involving multiple microphones placed at different distances and positions relative to the speaker cabinet. Common approaches include combining close-microphone techniques (using Shure SM57 or Sennheiser e906) with room microphones (Neumann U67 or U87) to capture both the direct speaker sound and the ambient room characteristics. This multi-microphone approach allows engineers to blend different tonal characteristics, creating the powerful yet balanced guitar tone heard on AC/DC’s recordings. The careful selection and placement of microphones becomes particularly important given the high volume levels Angus uses to achieve his natural amplifier distortion.
Recording studios also allow for precise control over amplifier settings and performance conditions that differ from live situations. Angus can adjust his amplifier volume to achieve optimal distortion without the extreme levels required for live performance, resulting in a more controlled and consistent tone. The controlled acoustic environment of recording studios also enables engineers to capture the full frequency range of his sound without the room interactions and sound reinforcement complications of live venues. This controlled approach helps explain why AC/DC’s studio recordings maintain clarity and definition despite the aggressive distortion inherent in Angus’s tone.
One significant difference between studio and live setups is the approach to the Schaffer-Vega system. While essential for live performances, the wireless system is often bypassed in recording situations, with direct connections used to eliminate any potential signal degradation. However, some engineers have discovered that the tonal characteristics of the Schaffer-Vega preamp are so integral to Angus’s sound that they either use the system even in studio or employ similar signal processing to replicate its effect. This attention to detail demonstrates how even seemingly minor components of his setup can be crucial to achieving his signature tone.
Albums like “Back in Black” showcase Angus’s studio approach, with guitar tones that are powerful yet controlled, aggressive yet clear. The recording process often involves multiple layers of guitar tracks, with different guitars and amplifiers used to create depth and complexity. However, each individual track maintains the core SG-Marshall character, with variations adding textural interest rather than fundamentally changing the sound. This approach allows AC/DC’s recordings to have the raw energy of live performance while maintaining the precision and balance possible only in studio conditions.
For guitarists inspired by Angus Young’s sound but working with limited budgets, achieving his tone is surprisingly accessible thanks to the fundamental simplicity of his approach. The key lies in understanding the essential elements of his sound rather than attempting to duplicate his exact equipment, which can be prohibitively expensive due to the vintage nature of many pieces. Modern alternatives and affordable options can capture the essence of Angus’s tone without requiring the financial investment of vintage Gibson SGs and Marshall amplifiers.
The guitar represents the most significant investment in achieving Angus’s tone, but several affordable alternatives can provide similar characteristics. Epiphone produces excellent SG models that capture the essential feel and sound of Gibson’s more expensive versions. The Epiphone SG Standard or G-400 models offer mahogany construction, humbucking pickups, and the double-cutaway design essential to Angus’s style. For those wanting even closer approximation, the Epiphone Angus Young Signature SG provides officially sanctioned specifications at a fraction of the Gibson price. These guitars can be further optimized by removing pickup covers and setting up for light gauge strings, matching Angus’s preferred configuration.
Amplification options for achieving Angus’s tone on a budget have expanded significantly in recent years. Modern Marshall amplifiers like the DSL or Studio series provide much of the classic Marshall character at more accessible price points. For even more affordable options, companies like Bugera, Blackstar, and Monoprice offer amplifiers inspired by classic Marshall designs that can deliver similar overdrive characteristics. The key is finding an amplifier that provides natural power tube distortion rather than relying on preamp gain, as this is essential to Angus’s tone. Even smaller 15-20 watt amplifiers can achieve appropriate distortion for practice and recording, though larger venues will require more power.
The Schaffer-Vega wireless system represents one of the most challenging aspects of Angus’s tone to replicate on a budget, as original units are rare and expensive. However, modern wireless systems from companies like Line 6, Boss, and Sennheiser provide reliable wireless transmission at affordable prices. For the tonal characteristics of the Schaffer-Vega system, several options exist: some boutique builders offer replicas or similar boost/compression pedals that capture the essential qualities. Alternatively, a simple clean boost pedal can provide the slight gain increase and signal enhancement that contributes to Angus’s sound. While not exactly the same, these alternatives can achieve similar results for live performance and recording situations.
String and pick selections represent the most affordable aspects of Angus’s setup to replicate. Ernie Ball Super Slinky strings (9-42 gauge) are widely available and relatively inexpensive, providing the light gauge flexibility essential to Angus’s playing style. Fender Extra Heavy picks are also readily available and affordable, offering the thickness and stiffness needed for his aggressive attack. These simple components can make a significant difference in achieving his tone, as they directly affect playing dynamics and string response.
Technique plays an equally important role in achieving Angus’s tone as equipment selection. His aggressive picking style, heavy attack, and use of the bridge pickup contribute significantly to his sound. Practicing with a focus on consistent, powerful picking and learning to control amplifier distortion through playing dynamics can help guitarists get closer to Angus’s tone regardless of equipment. The simplicity of his approach means that focusing on fundamental techniques often yields better results than chasing expensive gear upgrades.
Angus Young primarily uses Ernie Ball Super Slinky strings in 9-42 gauge, though earlier in his career he used Dean Markley strings of similar gauge. This light gauge allows for his fast lead work and aggressive rhythm playing while maintaining flexibility for his signature vibrato and bending techniques.
No, Angus Young famously does not use traditional guitar effects pedals. His only “effect” is the Schaffer-Vega wireless system, which provides both wireless capability and a subtle tone enhancement. He achieves all desired tones through his playing technique, amplifier settings, and the natural distortion from his Marshall amplifiers.
The nine Marshall amplifiers serve practical purposes rather than providing different tones. They’re connected in series and parallel configurations, with some serving as backups while others contribute to massive stage volume and tonal complexity. This setup ensures reliability during live performances – if one amplifier fails, others can maintain the sound without interruption.
Angus Young’s most significant and frequently used guitar is his 1970 Gibson SG Standard, purchased in 1971. This guitar was his primary instrument during AC/DC’s formative years and featured on early albums like “High Voltage” and “T.N.T.” He also holds the black 1970 SG Custom in high regard, having used it extensively since the “Back in Black” era.
Yes, the Schaffer-Vega system has become integral to Angus’s tone. While originally chosen for wireless capability, he discovered that the system’s preamp section adds a subtle boost and compression that contributes to his signature sustain and definition. Even in recording situations where wireless isn’t needed, he often uses the system for its tonal characteristics.
Start with an affordable SG-style guitar (Epiphone makes excellent options), a Marshall-style amplifier with natural power tube distortion, light gauge strings (9-42), and heavy picks. Focus on aggressive picking technique and using the bridge pickup. A simple clean boost pedal can help replicate the Schaffer-Vega system’s characteristics if needed.
Angus Young’s gear setup represents one of rock’s most successful examples of “less is more” philosophy. His five-decade career has been defined not by constantly chasing new tones through elaborate equipment, but by mastering a simple, effective setup that allows his playing to shine through. The consistency of his approach – Gibson SG into Marshall amplifier with minimal processing – has created a timeless tone that remains as powerful today as it was in AC/DC’s earliest days.
For aspiring guitarists seeking to understand Angus’s approach, the key lessons go beyond specific equipment choices. His dedication to mastering a core sound rather than constantly changing gear, his focus on playing technique over signal processing, and his understanding of how different components work together all provide valuable insights for developing one’s own signature tone. Whether attempting to replicate his sound exactly or learning from his approach to create something unique, Angus Young’s gear philosophy offers inspiration for guitarists at all levels.
The enduring appeal of Angus Young’s tone lies in its perfect balance of simplicity and complexity – simple in approach but complex in result. This balance has allowed his sound to remain relevant across decades of musical trends and technological developments, proving that great guitar tone comes from the player’s hands and musical understanding rather than from an arsenal of equipment. As AC/DC continues to record and tour into their sixth decade, Angus’s faithful Gibson SGs and Marshall amplifiers continue to deliver the powerful, energetic sound that has made him one of rock’s most influential and recognizable guitarists.Â
