Dokken

Inspector #20

Inspector #20

Ambassador of Tone
Fallen Star
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Found a CD in the $5 section at Wally-World.

My Mustang has some kind of factory bass speaker cabinet with a speed volume feature.

Dude....I forgot how good George's tone is. I totally lost myself in the tone..

I don't hear anything modern with that tone....damn its good.
 
Hopefully, the CD was either, Tooth and Nail or Under Lock and Key.

Dokken absolutely screams 80's!!! They have some good music, and Lynch is why. He has some great pinch harmonic and whammy technique. He shreds. If I remember, I think he has a great lead in Unchain the night. I'm sure all his leads and riffs are killer. I haven't listened in decades though.

I did see them live, somewhere along the way.
 
guitarweasel said:
I was never a big fan of Dokken, but damn, George just had this thing. What I really like about him is he never for where he came from......He expalins:



Also, what he does on his Mr. Scary tune is insane!!

Click to expand...

Definitely great leads. His rhytym tone is really big and that's one of my favorite aspects of his work.
 
I've always like his skeleton guitar that was custom made by some Hollywood special effects artist.

xray-skull-bones-mr-scary-left-handed-guitar.jpg



;>)/
 
BlackSG91 said:
I've always like his skeleton guitar that was custom made by some Hollywood special effects artist.

xray-skull-bones-mr-scary-left-handed-guitar.jpg



;>)/
Click to expand...

Good Catch!!!! It is a fact that ESP Guitars had nothing to do with the original Skull N' Bones Guitar. This was hand carved & built by Johnny Frog. Frog is a well known Hollywood horror movie makeup artist who has done makeup on many movies, such as Nightmare on Elm Street, etc. George was, at the time, under contract to ESP, so when he showed up playing the "Skull & Bones", ESP protested, citing breach of contract, so the problem was solved when an ESP executive affixed an "ESP' decal to the headstock just before the video shot. George and Frog protested, but ESP won the argument.
 
George’s 2008 touring gear


With an arsenal of Randall signature series amps and speaker cabinets, George embarks on a series of shows with the newly reformed Lynch Mob. The equipment that on these tour shows is more of a “back to basics” approach as was last year’s rig. There are a few changes from the last rig with the inclusion of a new pedalboard routing by Dave Friedman of Rack Systems in North Hollywood, CA.
The signal flow is the same as it has been from the previous two tours: What’s new in the rig is the prototype of the Morley Dragon 2 Wah , a Boss CE-5 chorus pedal and the Boss, OC-2 octave divider. The OC-2 replaces the use of the MuTron octave divider that blew up on the road in 2007, shooting out sparks before spewing out flames that set fire to George’s favorite pair of tennis shoes.

The Morley Dragon 2 Wah prototype is the advancement production version of the limited edition pedal that was made available in December 2007. What’s new about the Dragon 2 is that it has a notch filter setting that can be set by the user to get that half-cocked wah tone in a fixed frequency without having to physically affix the rocker pedal in a notched position. This idea was hatched while at rehearsal and George discovered a Schenker-ish tone when he accidentally left his wah pedal in a half-traveled position. He then went on to speak with a German accent for the rest of the rehearsal…

The two mainstays in the new pedalboard are the Boss GE-10 ten band graphic equalizer and the script logo-era MXR Phase 90. The GE-10 is set to have a midrange hump with the output level just a pinch above the zero notch. The MXR Phase 90 is an original hard-wired version made in 1974. Like EVH, George sets the dial at a nominal slow speed to give solos textures, especially when there are fast successive notes.

George’s current pedalboard also features a power supply and power conditioner to reduce signal hum and also provides surge protection. Powering the 9V required pedals is the BBE SupaCharger. It provides power for up to 8 pedals, except for the MXR Phase 90 because we don’t want to blow that up…so it bears a battery. But to insure power for lengthy periods of time, we put a lithium battery in there so it could last up to about a year (God willing).

George’s signal flow is as follows: –Guitar–>Morley Dragon Wah–>Cusack Screamer–>MXR Phase 90–>Boss –Guitar–>Chorus CE-5–>Boss Octave OC-2–>Fullton DejaVibe–>Framptone Amp Switcher…

With the Framptone Amp Switcher being used as a splitter, main signal going to the input, with channel B output to the Boss GE-10 EQ (set to -10db and the main level set to just a pinch above the zero notch)…from there going to the main Randall Lynch Box head with the primary module being the “Mr. Scary.” Channel A goes to the Randall Lynch Box head with the primary module being the “Brahma.”

There is a third Lynch Box head used as backup.
 
Gotta be honest, this thread sparked my interest so I started listening, and I think Lynch’s recent tone (at least the last decade) is absolutely horrible. Way too much gain, way too many effects, no midrange punch.

Weird because he really did have a great tone earlier on.
 
gball said:
Gotta be honest, this thread sparked my interest so I started listening, and I think Lynch’s recent tone (at least the last decade) is absolutely horrible. Way too much gain, way too many effects, no midrange punch.

Weird because he really did have a great tone earlier on.
Click to expand...

Yes!!!!!! Exactly!!!!
 
gball said:
Gotta be honest, this thread sparked my interest so I started listening, and I think Lynch’s recent tone (at least the last decade) is absolutely horrible. Way too much gain, way too many effects, no midrange punch.

Weird because he really did have a great tone earlier on.
Click to expand...

When Max Norman was producing Dokken, he had a strong influence on George's tone.

Max favored plate reverb and delay around 400ms - but almost to the point of being too much - which gives that "deep in the well" tone.

Also, George used a 10 band EQ, set for a midrange bump, and photos of this setup are everywhere.

However...I find the tone gets closer to George's when I roll off the midrange!!!!

Now, here's something interesting. On my Gibson SG (with GFS Alnico II PAF clones around 7.8k) the GE-7 seems to have quite a bit of influence over the guitar.

But...

With the SLE-101'S in the Doublneck, the GE-7 seems to have little effect...so miniscule, in fact, that I just put it back in its box.

Both guitars have the same wiring, pot values and K40Y PIO tone capacitors and the same capacitance m

Thoughts on that one???
 
Robert Herndon said:
When Max Norman was producing Dokken, he had a strong influence on George's tone.

Max favored plate reverb and delay around 400ms - but almost to the point of being too much - which gives that "deep in the well" tone.

Also, George used a 10 band EQ, set for a midrange bump, and photos of this setup are everywhere.

However...I find the tone gets closer to George's when I roll off the midrange!!!!

...

Thoughts on that one???
Click to expand...

Recorded with the mid bump....then the mids got nuked in production/mixing.
Those pesky engineers do use those eq strips on those giant consoles, and sometime they’re merciless with them.:eek:
Live, the mid bump may be great, but in a fully mixed/mastered recording...other things may need to exist in that frequency band....o_O
 
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