Mutt Lange "1 guitar string-at-a-time" recording?

[yenomusic]

This may sound impossible, but I swear I once read that Mutt Lange recorded 1 guitar string at a time when producing AC/DC's Back in Black. Does anyone know if this is true? And if so, how did he achieve such a feat? Any links would be appreciated.
Thanks -RR

[chrisdee]

Originally Posted by yenomusic

This may sound impossible, but I swear I once read that Mutt Lange recorded 1 guitar string at a time when producing AC/DC's Back in Black. Does anyone know if this is true? And if so, how did he achieve such a feat? Any links would be appreciated.
Thanks -RR

Might be true, but on the other hand it seems a bit unlikely.
Escpecially when it comes to the riffs. You get quite a different sound playing a two or three strings riff compared to playing that same riff but one string at a time.

You could try to look up the Pensado's Place episode where Mike Shipley was a guest. Maby there is some insight there?

[Darryl Ramm]

Originally Posted by yenomusic

This may sound impossible, but I swear I once read that Mutt Lange recorded 1 guitar string at a time when producing AC/DC's Back in Black. Does anyone know if this is true? And if so, how did he achieve such a feat? Any links would be appreciated.
Thanks -RR

I'll call B.S, on that. If you read that where is the link to that article? Google can't find it can it. Yet recording this album has been discussed a fair amount, and was done pretty live, so it's not going to be "one string at a time". E.g. http://www.premierguitar.com/article...ith_Tony_Platt

[WKG]

Mutt Lange, or anyone for that matter, can certainly record one string at a time. For a player to perform coherently with proper dynamics, overtones and integration into the context of the piece, with the exception of selected accent parts or harmonies, is another issue entirely.

That album would have sounded like crap if that is how he approached the entire project.

[mixboy bob]

You're actually thinking Def Leppard:

http://www.guitarworld.com/interview...pards-hysteria

It's says that some is lore and urban myth, but there is some truth to all of the extreme stories.

Some of my session buddies have worked for Mutt, and their stories very much line up with most of these "myths". Perfection almost to a maddening degree.

I personally loved the results.

peace

Rob Burrell
aka mixboy

[yenomusic]

Will check it out thanks.

[Craig F]

I've been told a story from a FOH mixer about Mutt being at the FOH position with his back to the stage and and picking out the 1 of 3 guitar players playing an A (all 3 playing an A) on an up pick instead of a down pick on stage
But I think Mutt may have seen it earlier and held until the mixer got there to say anything to build the legend

[Kenny Gioia]

I actually did this technique on a record and it worked great.

Unfortunately, it takes away the "strumming" effect because every note is hit at the same time.

What it does accomplish is the ability to hear each not clearly in the chord.

I mean, who actually plays all six strings in a distorted guitar track?

You can't hear each note very clearly that way.

What works even better is to hit two strings at a time and do 6 passes.

So the first pass is the first two strings played as a chord. The second pass is the second and third string. It produces a very rich sound while still sounding like a chord.

It's time consuming but not that bad on a simple 4 chord song.

[Jay_uk]

As an aside….Dont know who it was but someone advised recording the actual pick strumming/attack etc. Isolating it in effect, i assume they meant not having the guitar plugged in. Then mixing it in. Perfectionism can be curse though

[Rob2Smith]

What I remember is that it is the song, "Hysteria" and that the trick is that they loved the open chord sound of the guitar but when the chord changed and the fingering changed, the so did the resonance. The actually work was that they tuned for one chord, played the pattern... tuned for the next chord, played the pattern and so on. This allowed them to maintain the open nature of the chord and thus the bright resonance.