The mighty Angus Young

Bueno, les dejo un articulo con entrevista a Angus, esta en inlges pero ta, espero les guste.


Interview and photos by Lisa Sharken

Angus Young is perhaps one of the world’s most underrated guitarists whose style is frequently imitated, but never duplicated. Since 1973, Young has been bludgeoning an SG as the lead guitarist with legendary rockers AC/DC. Catchy blues-influenced riffs played with a crushing guitar tone and blistering lead hooks are what make the group’s sound so easily identifiable. On the group’s recent release, Stiff Upper Lip (Elektra/Asylum), Young carries on in the brutal and ballsy AC/DC tradition that has driven the group since its early days.

To honor Young’s loyalty to the SG model, Gibson recently introduced the Angus Young Signature SG, a faithful reproduction of the artist’s original trademark axe. Designed and manufactured to Angus' exacting specifications, this new SG features an engraved lyre vibrola, an Angus Signature treble pickup along with a ’57 Classic rhythm pickup, a "Devil" peghead decal and comes with a special Angus Young Signature SG hardshell case.

In a recent interview, Young discussed AC/DC’s music and how the SG has always been an important part of its sound, both live and in the studio. Young also offers some tips on how he achieves his massive tone and keeps the show pumping.

Has the AC/DC sound changed much since its early days with Bon Scott to the rebirth of the band with Brian Johnson? What’s different about it now and what’s remained the same?

The style of the music is still the same. We still play hard rock or rock and roll music. That’s what we started with and we still play it now. We just try to find new ways of presenting it, and for us, that’s always a challenge - to come up with a new idea, turn it into AC/DC and still retain that style. We’ve recorded a lot of material over the years and, in a way, you have to be your own editor. We look at it all, but we don’t let every one of the songs we write go out there. We try to pick the best of what we’ve got.

As a player, how do you feel that your own style and technique have evolved?

I try to find new ways of playing things and I’ve always had a thing where I don’t put a guitar lick into something just for the sake of putting a guitar lick into something. I like everything to have a groove and go with the track and besides that, you do like it to shine out, too, so it doesn’t come across as just being in there as filler.

Do you frequently change the ways that you approach some of the material when you play it live, as opposed to playing exactly what was on the original recording?

Sure. We’ve got a few tracks that we sort of leave room for spontaneity and the way we play them could change over the years. You might add a little bit here and there, and when you get onstage you may play a different riff than usual. You might play with the audience have and them join in with you. Some nights you might change it around and do something completely different. I think it keeps things exciting for the band and for the people who have come out and seen us on tour. The fans get a big kick out of hearing something different.

You’ve always been a minimalist in your choices of gear and have always gone with the traditional "guitar into an amp" route. Has your rig changed much over the years?

No, I always keep it simple. I think when you get onstage and you’re playing rock and roll, the big lesson is this: If you’ve got too many toys up there, then there’s too many things that can go wrong.

When did you first start playing SGs?

I think it was the first real guitar I ever had and I guess I’ve been using it since then.

What year or model was your first SG?

It was a ’68. I still have it and play it, too.

What is it about the SG that makes it special to you?

I always wanted an SG as a kid. I had a friend from San Francisco who went to school with me in Sydney. He had a Gibson guitar catalog and when I looked through it and saw the SG, I said, “That’s my guitar!” I always liked the shape of it and when I got a hold of my first one, I was in love with it. I’ve always thought it was a great guitar. The shape of the SG has the little horns, it’s red and it’s a little devilish. With the double-cutaway you don’t have to reach around, so it’s easier to play higher up on the neck, and it’s also lightweight. Of course, I like the sound of it, too. I tried a Les Paul once, but I’m a little guy and the SG just felt more balanced for me. The SG has just always been the right guitar for me.

Have you ever played any guitars besides the SG, either live or on a recording? Have you ever used a Strat or a Tele?

I’ve played other guitars, but not on a recording or live, except as a spare. When my brother and I were younger and we were gigging, I had my SG and Malcolm had his Gretsch. We had one spare guitar that we shared and that was a Telecaster that belonged to Malcolm. We put a humbucking pickup on it in the neck position. If I broke a string, I could use it and kick on the humbucker. If he broke a string, he could kick on the Fender pickup in the bridge position. That was about the only other guitar we ever played on stage.

Do you prefer to keep the stock pickups in your guitars?

Yes. I usually like to leave a guitar alone because those pickups are part of the character of it. If I bought a guitar that had an old battered-up pickup in it and that’s what gave it that particular sound quality, then I’ll leave it. Sometimes you get those freaky accidents that make things sound different.

What gauge strings and picks do you prefer?

I use .009-.042 gauge strings and for picks, sometimes my fingernails, but I usually use extra heavy gauge picks in the regular shape. Some of those old Fender extra heavy picks used to last me for years.

What are your typical live amp settings?

In your part of the world, a lot of venues are built with the same sort of design, so the sound doesn’t change all that much from night to night. But the amp settings will vary a bit in different venues. We do a little bit of juggling before we go out on tour and just try to get things as consistent as possible. I’ll take four 100-watt amps (Marshall or Wizard) and try them out individually. I’ll get a couple together and go through them to try to line up four that are pretty much the same in terms of tone and character. Then I just crank up a little bit of bass and put a little bit of middle in. If it’s too bassy, I’ll cut it back. Usually, all the controls are set about halfway, never full up. A lot of people think it sounds best when you drive the amps to death, but I never do it that way. I think that when you turn things up too much, the sound sort of goes a bit mushy.

Your tone is actually much cleaner than many people think.

It is. The amp is set very clean. A lot of people who have picked up my guitar and tried it through my amp have been shocked at how clean it is. They think it’s a very small sound when they play it and wonder how it sounds so much bigger when I’m playing. I just like enough gain so that it will still cut when you hit a lead lick without getting that sort of false Tonebender-type sound. I like to get a natural sustain from the guitar and amp.

Do you ever use a boost pedal for leads?

No. The only boost between the guitar and amp is me!

What do you use as your typical studio rig?

I take in a 100-watt top, a Marshall JTM45, and two 4x12 cabinets. Sometimes I’ll use the double cabinets or just a single 4x12. It usually depends on what I’m doing. If I’m doing rhythm work with my brother, then I’ll use the twin cabinets. But if it’s a guitar lick that I’m recording, then I might use the JTM45 and just one cabinet.

When you’re working in the studio, do you like to record when standing in the same room as your amp?

It just depends on the nature of the room. If you’ve got a great-sounding live room and everyone’s in the same room - especially the drums and the guitars - then I think you’ll really cook because there’s more of a feeling of camaraderie. It makes for much more of a live feel. If you’re in the control room or separated, sometimes you can be a little bit cut off. We’ve done it different ways, but a lot of it is still down to the room itself. If you’ve got a great-sounding live room, you can get lucky.

What differs most about the way that you approach playing in the studio and a live gig?

In both situations, I’ve always found that it works to put your best foot forward and don’t be afraid. I suppose it’s a bit like swimming. You can’t just dip your little toe in the water. You’ve got to go all the way. I believe you’ve got nothing to fear, although a lot of people think that’s strange. If you hit a bum note, that was fate. Some of those bum notes might be a great accident. I think that if you’re too tight and restricted, then those sort of little spontaneous things just seem to give it that little bit of magic, they won’t happen. Every now and again, we all hit a bum note. The ideal situation is just to hit less of them! I think that it just takes a bit of confidence when you’re doing something. I’ve never been afraid. I guess I’m lucky for having grown up in a family of musicians. I think that gave me a lot of confidence about my playing and made it easier for me to be comfortable in any musical situation.

Do you do much home recording when you’re writing or doing pre-production for your records?

Oh, sure. We do a lot of on-the-road stuff, too. I get ideas from being on the road and I might write down pieces of a lyric, a title of a song, or just ideas or riffs, and tunes I want to remember. I don’t think there’s a set pattern for writing. If we’re on the bus, I might knock down a couple of things on a cassette. I think that in a lot of our best stuff, there’s a combination of things we might do on the road and things we might do at home. You just can play editor and see which elements can come together and then piece things together.

Which environment works best for you to write songs?

I don’t think there is an ideal environment. We’ve written songs under a hell of a lot of pressure, but then some songs just come when suddenly and spontaneously, like when you’re not thinking and you’re in the middle of a cab ride. We’ve even written songs on stage. But that’s the key, I suppose, never knowing when to expect it.

What advice would you give to another player on keeping the show going when playing live?

Once you’re on the stage you can’t go back, even when things go wrong, people expect you to stay on there and entertain them. When all else fails, you’ve got to try tap dancing.