I had never stumbled upon this; this is Fil Olivieri @SoloDallas; I'm the guy that brought back the Schaffer device that was used by Angus Young on all those great AC/DC albums - all of the solos and the center guitar parts, in essence. Such an important part of AC/DC's sound. I am thrilled to have watched this; contrary to what Mr. Platt remembers, we experienced that the speakers on the guitar cabinets were actually the G12-65s; that's a slightly heavier speaker than the G12 greenbacks as Mr. Platt states. If one tries greenbacks on tunes such as Back in Black itself OR You Shook Me All Night Long, it's evident it won't work. It was G12-65s at least on those tunes - naturally recorded with U67s and U87s. My most favorite album of my life - which actually changed my life (started working with AC/DC and all that). Thank you so much for putting all of this down to 'tape' - it is absolutely necessary we had Mr. Platt recorded with brilliant questions asked so that he could actually reply just as brilliantly. Love, Fil Olivieri
It could've been G12-80s. For Malcolm. Those late 70's cabinets read "120w" but were actually 320watts. Maybe Mr. Platt missed out on that one.. I personally get the closest to Malcolm tone with my Gretsch, Super Bass '71 and -the Rola G12-80s.
Tony is a genius! He is one of those people who just has that magic. It’s interesting the importance he puts on mic position all the way through the final mix. Just brilliant! Thank you all.
Tony did a lp with a French band Trust ''Savage'' in '82 and that's a great sounding lp too...drummer on that one is Nicko McBrain soon to join Iron Maiden..the drums and guitars sound huge
Really good podcast. Totally agree with BIB being an album of sonic contradictions. It manages to be an aural assault, yet completely listenable. Savagely raw yet beautifully polished. Absolute magic !
How this only has 400 views is ridiculous. The Eventide snare trick is worth the interview. Panning guitars hard left/slight right and hard right/slight left is interesting too but that was the mono days.
Really though, everything should be mono compatible, since we very rarely (unless we're wearing headphones) hear music in perfectly balanced and separated stereo.
When he’s talking about hitting the tape at +7 around the 44:23 mark, then says he’s staying around zero, I’m not sure I follow. Is the level coming into the tape hitting +7 on the needle?
As tape formulas improved over the years they could hold more level. The tape machines were calibrated to make zero on the meter read that level. So 0 on +3 tape would actually represent +3, 0 on +6 tape would represent +6 & 0 on +9 tape would represent +9, or any variation the engineer decides to calibrate the session for under the tape’s limits.
@@FromTheWestBarnPodcast awesome, I did not know that! I recently started experimenting with smaller format tape (1/2inch), is there a way to determine what the tape is calibrated for? Or should it be stated on the tape? Perhaps a way to test the tape to see what it’s best optimized for? Thanks so much for the info!
@vaughn6668 Yes, the tape will tell you it’s Max level. Keep in mind the speed matters as well. So we usually calibrate +9 tape at 30ips. That same tape will only handle +6 at 15ips & +3 at 7.5ips. Think of it as a conveyor belt. Hope this helps!
These are what you call amazing Recording producers & Engineers and not where you see on UTUBE that they think are better. The BEST are the ones who've accomplished & Proved IT ! Thank you Mr. PLATT 😁👍🏻
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I had never stumbled upon this; this is Fil Olivieri @SoloDallas; I'm the guy that brought back the Schaffer device that was used by Angus Young on all those great AC/DC albums - all of the solos and the center guitar parts, in essence. Such an important part of AC/DC's sound. I am thrilled to have watched this; contrary to what Mr. Platt remembers, we experienced that the speakers on the guitar cabinets were actually the G12-65s; that's a slightly heavier speaker than the G12 greenbacks as Mr. Platt states. If one tries greenbacks on tunes such as Back in Black itself OR You Shook Me All Night Long, it's evident it won't work. It was G12-65s at least on those tunes - naturally recorded with U67s and U87s. My most favorite album of my life - which actually changed my life (started working with AC/DC and all that). Thank you so much for putting all of this down to 'tape' - it is absolutely necessary we had Mr. Platt recorded with brilliant questions asked so that he could actually reply just as brilliantly. Love, Fil Olivieri
It could've been G12-80s. For Malcolm. Those late 70's cabinets read "120w" but were actually 320watts. Maybe Mr. Platt missed out on that one.. I personally get the closest to Malcolm tone with my Gretsch, Super Bass '71 and -the Rola G12-80s.
If you are solo Dallas I’d like to say you rock and me and my best friend mark are huge fans of your work
Thanks!!!
Tony Platts Son is the reason I'm a Sound Engineer now. I enjoyed this immensely. x
Very cool! Subscribe!
Tony is a genius! He is one of those people who just has that magic. It’s interesting the importance he puts on mic position all the way through the final mix. Just brilliant! Thank you all.
This guy is brilliant. And you guys rule for doing these. Hope there's more coming!
This is invaluable stuff here. The love for the music comes through in every sentence from all you guys. Thoroughly enjoyed every second
Very underrated channel, these videos are a Gold Mine for me, thanks for doing all these
Thanks everyone for a wonderful discussion. Brilliant stuff! - chaz
Thanks!!! Electric Owl! Subscribe!
So cool. Sorry for the late visit. Playful. Beautiful sharing~~ S-d and L-d!
Fantastic interview! Great questions!
Glad you enjoyed it!
Tony did a lp with a French band Trust ''Savage'' in '82 and that's a great sounding lp too...drummer on that one is Nicko McBrain soon to join Iron Maiden..the drums and guitars sound huge
This is gold, please keep these going. They will catch on, I can't believe they haven't already
Thanks Robert! Subscribe!
Thanks for the great interview and information!
Our pleasure!
The drum sound on BinB is unequaled.
Huge interview thank you for posting that… what a learning experience.
Thanks heaps for this, you guys asked all the right questions.👍
Our pleasure!
Really good podcast. Totally agree with BIB being an album of sonic contradictions. It manages to be an aural assault, yet completely listenable. Savagely raw yet beautifully polished. Absolute magic !
How this only has 400 views is ridiculous. The Eventide snare trick is worth the interview. Panning guitars hard left/slight right and hard right/slight left is interesting too but that was the mono days.
We are slowly growing... Love this interview!!! Share!!!
Really though, everything should be mono compatible, since we very rarely (unless we're wearing headphones) hear music in perfectly balanced and separated stereo.
Nobody cares about the nuts and bolts, it's a shame. I may have no clue what the tech speak is, but it's amazing to watch the creator speak.
this is so awesome, thanks !
Brilliant interview
Great interview!!
Thank you. Great interview
Our pleasure!
thanks so much guys!
Our pleasure!
Thanks this was Gold.
When he’s talking about hitting the tape at +7 around the 44:23 mark, then says he’s staying around zero, I’m not sure I follow. Is the level coming into the tape hitting +7 on the needle?
As tape formulas improved over the years they could hold more level. The tape machines were calibrated to make zero on the meter read that level. So 0 on +3 tape would actually represent +3, 0 on +6 tape would represent +6 & 0 on +9 tape would represent +9, or any variation the engineer decides to calibrate the session for under the tape’s limits.
@@FromTheWestBarnPodcast awesome, I did not know that! I recently started experimenting with smaller format tape (1/2inch), is there a way to determine what the tape is calibrated for? Or should it be stated on the tape? Perhaps a way to test the tape to see what it’s best optimized for? Thanks so much for the info!
@vaughn6668 Yes, the tape will tell you it’s Max level. Keep in mind the speed matters as well. So we usually calibrate +9 tape at 30ips. That same tape will only handle +6 at 15ips & +3 at 7.5ips. Think of it as a conveyor belt. Hope this helps!
Wish there were more questions on the band during the recording vs so many technical details.
This is an engineer TH-cam page. The technical side is the meat and potatoes of their videos
This is simply amazing stuff! Please continue to geek away. Thanks 🙏 Oh,what’s the mic for the bass amp?
Thanks!!! So much to ask in so little time!! Didn't he say it was direct?
Ah,so it was the direct out from the amp only?
@@thomaspersson1533 if it was a direct it would be from a direct box. Not sure that was stated clearly
@@FromTheWestBarnPodcast
Ok,since he’s talking about putting the amp in a small room to get compression i thought he was also using a mic.
@@thomaspersson1533 could be...
These are what you call amazing Recording producers & Engineers and not where you see on UTUBE that they think are better.
The BEST are the ones who've accomplished & Proved IT !
Thank you Mr. PLATT 😁👍🏻
awesome
Thanks Antonio! Subscribe!!
Very kool!
Thanks Vinnie! Subscribe!!!
@@FromTheWestBarnPodcast I did subscribe.
@@FromTheWestBarnPodcast Kyle is one of my closest friends.We've done a TON of work together. My fave engineer and a great human!
Oh, you are right about one thing. Steinberger are definitely the most uncool bass guitar on planet earth lol
Say what you want about Cassidy and Garrett, but they had access to more women in one month than any commenter here in a lifetime
BIB Msterpiece.