What amp did Angus Young use on The Jack?

A late-1960s 100W Marshall Super Lead Plexi with EL34 tubes, cranked to near-full volume. This was before Marshall sponsorship (1976-77) or the Schaffer-Vega wireless system (1977). It's the most raw, unprocessed AC/DC tone on record.

Did Angus use any effects on The Jack?

No — absolutely nothing between the guitar and amp. No SVDS (that came in 1977), no pedals. The dynamics come entirely from Angus's pick attack and guitar volume knob. This is AC/DC at their most stripped-down.

How to get The Jack tone?

Gibson SG or humbucker guitar straight into a Marshall-style amp. Set for moderate crunch — not heavily distorted. Use your guitar volume knob for dynamics. The blues feel comes from restrained playing, not cranked gain.

Classic Rock1975T.N.T.

The Jack Amp Settings

by AC/DC

The Jack captures the purest, most stripped-down version of Angus Young's tone — a 1975 Gibson SG plugged straight into a cranked Marshall Super Lead Plexi with absolutely nothing in between. No SVDS wireless, no effects, no processing. Just guitar, amp, and the blues.

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What Makes This Tone Iconic

This is AC/DC before the SVDS, before the Marshall sponsorship, before the stadiums. The Jack's slow blues shuffle reveals what Angus sounds like at his most raw — warm, moderately overdriven blues-rock driven entirely by tube saturation. The SG's mahogany body provides thick midrange bite, and the dynamics come from pick attack and the guitar's volume knob. It's grittier and less produced than anything on Back in Black.

Key Tone Elements

Gibson SG Standard (~1970-71, walnut) with PAF humbuckers
100W Marshall Super Lead Plexi cranked — no master volume
No SVDS wireless (not until 1977) — zero effects
Standard tuning, bridge humbucker primarily
Volume knob dynamics — rolling back for clean, cranking for overdrive

Original Recording Settings

partially-sourcedResearched tone data for "The Jack" by AC/DC

Original Gear

Guitar: Gibson SG Standard (~1970–1971, walnut finish)
Pickups: Original PAF (Patent Applied For) humbuckers or replacement Gibson humbuckers (bridge primarily; neck possibly for bluesy passages)
Amplifier: 100W late-1960s Marshall Super Lead (Plexi) with EL34 output tubes
Channel: High treble input
Tuning: standard
Pickup Selector: bridge (primarily), possibly neck for blues passages
Strings: Not documented for 1975 (later known: Ernie Ball Super Slinky 0.009-0.042)

SoloDallas source quotes Angus: '100-watt Super Leads, the old-style ones, without those preamp things.' No Schaffer-Vega Diversity System yet (not until 1977). No Marshall sponsorship (not until late 1976). Cabinet: Marshall 4×12 (likely 1960 with Celestion G12H). Recorded at Albert Studios, Sydney, produced by Harry Vanda and George Young.

Amp Settings

Bass

5.0

Mid

6.0

Treble

6.0

Presence

5.0

Volume

8.0

Tech Trace Foster: 'we would set the amp to where it seemed like it was going to explode at any minute.' For blues material, slightly cleaner than full-throttle. Non-master-volume amp.

Effects Chain

No effects - straight into the amp

Playing Technique

Slow blues shuffle. Bluesy bends, vibrato, and restrained playing compared to uptempo AC/DC tracks. Solo is lyrical and blues-based. Dynamic control via pick attack and guitar volume knob.

Sources+

SoloDallas.com: 'Angus Young's Marshall Amplifier(s)' — Fil Olivieri research on Super Lead usage.
Guitar.com: 'Gear Used By Angus and Malcolm Young' and 'Five myths about Angus Young's gear'.
Ground Guitar: 'Angus Young Guitars & Gear — Complete List'.
Guitar World (1984, Steven Rosen): Angus Young interview.
Clinton Walker, Highway to Hell (1994): Vanda & Young production quotes.
Loudersound/Classic Rock: 'How AC/DC made High Voltage and T.N.T.'