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When you think of AC/DC’s thunderous sound, Angus Young’s lead guitar might come to mind first, but it was Malcolm Young’s rhythm guitar that formed the foundation of their legendary hard rock style.
Malcolm Young was the rhythm guitarist and co-founder of AC/DC, known for his powerful, straightforward playing style and his iconic 1963 Gretsch Jet Firebird guitar nicknamed ‘The Beast.’
His signature tone comes from a single Filter’Tron pickup in the bridge position of his modified Gretsch, played through Marshall Super Bass amplifiers with heavy gauge strings (.012-.056) and extra heavy picks.
Malcolm Young is considered one of rock’s greatest rhythm guitarists, providing the foundational sound and songwriting structure that defined AC/DC’s distinctive hard rock style.
Throughout his 45-year career with AC/DC, Malcolm maintained a remarkably consistent approach to both his playing style and equipment choices, creating one of the most recognizable rhythm guitar sounds in rock history.
Born on January 6, 1953, in Glasgow, Scotland, Malcolm Young moved to Australia with his family as a child and formed AC/DC with his younger brother Angus in 1973.
While often overshadowed by his brother’s flamboyant stage presence, Malcolm was the musical architect behind AC/DC’s songwriting and the driving force that kept the band’s sound grounded in raw, uncompromising rock and roll.
His approach to guitar was fundamentally different from most rock guitarists – he focused entirely on rhythm, leaving lead playing to Angus and creating a powerful two-guitar attack that became the band’s signature sound.
What made Malcolm unique was his philosophical commitment to simplicity and consistency. Unlike many guitarists who constantly changed gear in search of the perfect tone, Malcolm found his sound early and stuck with it, refining it over decades rather than replacing it.
This gear minimalism wasn’t just a practical choice – it was a musical statement that reflected his belief in the power of straightforward, no-nonsense rock and roll.
The centerpiece of Malcolm Young’s sound was his 1963 Gretsch Jet Firebird, a guitar that would eventually earn the nickname “The Beast” for its battle-hardened appearance and ferocious tone.
The guitar was originally given to Malcolm by Harry Vanda, a member of The Easybeats (which included Malcolm’s older brother George Young), around 1970-1971.
What started as a standard Gretsch Jet Firebird underwent significant modifications over the years that transformed it into the unique instrument that defined Malcolm’s sound.
Filter’Tron Pickups: Gretsch’s signature pickup design, known for their clarity and lower output compared to traditional humbuckers. These pickups were crucial to Malcolm’s articulate rhythm tone.
Malcolm’s most significant modification was removing the neck pickup, leaving only the bridge Filter’Tron pickup. This wasn’t done for any technical reason initially – Malcolm simply didn’t use the neck pickup and preferred the guitar’s balance without it.
Over time, the distinctive red finish of the original Jet Firebird was worn away through years of playing, eventually being stripped off entirely, revealing the natural wood underneath.
The guitar accumulated numerous dings, scratches, and wear marks that became part of its character, eventually being retired from road use in the late 1980s due to its fragile condition.
Today, The Beast is considered one of the most iconic guitars in rock history, with Gretsch even releasing a signature model (G6131-MY) that pays tribute to Malcolm’s battle-hardened instrument.
Malcolm Young’s amplifier of choice was the 1971 Marshall Super Bass 100, a 100-watt tube head that provided the raw power needed to cut through AC/DC’s live mix.
The Super Bass model was actually designed for bass players, but guitarists like Malcolm discovered its unique tonal characteristics worked perfectly for hard rock rhythm guitar.
Unlike guitar-focused Marshall heads, the Super Bass had different circuitry that provided a tighter low end and more midrange clarity – perfect for Malcolm’s chunky rhythm playing.
Malcolm typically ran his Super Bass heads through Marshall 4×12 cabinets loaded with Celestion speakers, creating the massive wall of sound that became AC/DC’s live trademark.
Quick Summary: Malcolm’s amp setup was deceptively simple – Marshall Super Bass heads, standard settings, no effects pedals, just pure tube-driven rock and roll power.
In the studio, Malcolm sometimes used a technique called “slaving” where he would run the signal from his Super Bass into smaller amplifiers to achieve different tones while maintaining the core character of his main amp.
His settings were remarkably consistent – bass around 6-7, treble around 5-6, and presence around 4, with the volume pushed to achieve natural power amp distortion.
What made Malcolm’s approach to amplification unique was his resistance to over-complicating his signal chain. While many rock guitarists experimented with multiple amps, effects, and routing options, Malcolm kept it simple, letting his playing and the natural characteristics of his equipment do the work.
While the 1963 Gretsch Jet Firebird was Malcolm’s primary instrument, he did use other guitars throughout his career, particularly as backups and for specific situations.
In the late 1970s, Malcolm occasionally used a Gibson L6-S, particularly during the period when The Beast was being repaired or modified.
Former AC/DC bassist Mark Evans has noted that Malcolm used the L6-S during some early tours, though it never replaced the Gretsch as his main instrument.
Later in his career, Malcolm acquired a custom JayDee guitar, built specifically to his specifications, which became one of his main backup instruments for live performances.
He also occasionally played a Duesenberg Starplayer TV, particularly for television appearances and situations where a more visually striking guitar was appropriate.
When it came to strings, Malcolm was particular about his setup, using Gibson 900M L-5 strings in a heavy .012-.056 gauge.
This heavier gauge contributed significantly to his chunky rhythm tone, though it required significant finger strength to play consistently.
Malcolm’s pick choice was equally specific – he used Fender Extra Heavy picks, measuring 1.3mm or .050″ in thickness.
These extra heavy picks helped him achieve his aggressive attack and consistent dynamics, particularly important for his relentless rhythm playing style.
What made Malcolm Young’s tone so distinctive wasn’t just his equipment choice – it was how he combined his gear with his unique playing approach.
Malcolm rarely used effects pedals, preferring to let the natural interaction between his guitar, amplifier, and playing technique create his sound.
His playing style emphasized aggressive downstroke picking, minimal chord movement, and a focus on the rhythmic pocket rather than flash or complexity.
The combination of the single Filter’Tron pickup, heavy strings, and extra heavy picks created a tone that was both articulate and aggressive, with enough midrange presence to cut through the mix without sounding thin.
In the studio, Malcolm’s approach was equally straightforward – he typically recorded with his live setup, trusting the engineers to capture his natural sound rather than chasing studio-perfect tones.
One of the key elements of Malcolm’s tone was his use of space. Unlike many rhythm guitarists who play constantly, Malcolm understood the power of leaving gaps in his playing, which made his chords hit with more impact when they did appear.
His technique was deceptively simple – mostly power chords and basic blues-based progressions – but his execution was flawless, with impeccable timing and dynamics that gave AC/DC’s songs their driving momentum.
For guitarists looking to capture Malcolm Young’s sound without spending thousands on vintage equipment, there are several modern alternatives that can get you close to his tone.
Gretsch currently offers the G6131-MY Malcolm Young Signature Jet, which reproduces the specifications of Malcolm’s modified guitar, though at a premium price point of $3,359.99-$3,399.99.
More affordable options include standard Gretsch Jet models, which can be modified to Malcolm’s specifications by removing the neck pickup and adjusting the wiring.
For amplification, modern Marshall Super Bass clones or reissue models can provide similar tones, though some players find that contemporary Marshall heads with their EQ set appropriately can achieve comparable results.
The key elements to focus on when trying to replicate Malcolm’s tone are: a guitar with a good single-coil or low-output humbucker in the bridge position, a tube amplifier that can be pushed into natural overdrive, heavy gauge strings (.012-.056), and extra heavy picks.
Most importantly, developing Malcolm’s playing style – aggressive downstrokes, minimal movement, and a focus on rhythm rather than lead playing – is crucial to achieving his sound.
Malcolm Young primarily played a modified 1963 Gretsch Jet Firebird nicknamed ‘The Beast’. He removed the neck pickup, leaving only the bridge Filter’Tron pickup, and eventually stripped the red finish to reveal the natural wood underneath.
Malcolm Young’s main amplifier was a 1971 Marshall Super Bass 100 head, typically run through Marshall 4×12 cabinets with Celestion speakers. He used consistent settings with bass around 6-7, treble around 5-6, and presence around 4.
Malcolm Young used Gibson 900M L-5 strings in a heavy .012-.056 gauge. These heavy gauge strings contributed significantly to his chunky rhythm tone but required substantial finger strength to play effectively.
Malcolm’s tone came from: 1) A single Filter’Tron pickup in his modified Gretsch, 2) Marshall Super Bass amplification pushed into natural overdrive, 3) Heavy gauge strings and extra heavy picks, 4) Aggressive downstroke picking technique, 5) Minimal use of effects pedals.
No, Malcolm Young rarely used effects pedals. He preferred to let the natural interaction between his guitar, amplifier, and playing technique create his sound. His tone was achieved through equipment choice and playing technique rather than signal processing.
Comparing Malcolm and Angus Young is difficult because they served different musical purposes. Malcolm was arguably one of rock’s greatest rhythm guitarists, providing AC/DC’s foundation, while Angus is an iconic lead guitarist. Their contrasting styles created AC/DC’s signature sound.
Malcolm Young passed away on November 18, 2017, after a battle with dementia, but his influence on rock guitar continues to resonate through generations of players.
His approach to rhythm guitar – focusing on tone, timing, and taste over technical complexity – has inspired countless guitarists to prioritize the song over individual flash.
The lesson of Malcolm’s career is that consistency and commitment to a vision can be more powerful than constantly chasing new sounds or techniques.
For guitarists studying his work, the key takeaway is that great rhythm playing isn’t about what you play – it’s about how you play it, with conviction, precision, and an unwavering commitment to serving the song.
Today, players as diverse as Dave Grohl, James Hetfield, and countless others have cited Malcolm as an influence, not just for his sound, but for his philosophical approach to guitar playing.
His legacy reminds us that in rock and roll, the foundation – the rhythm, the timing, the unwavering groove – is what makes everything else possible.
