George Lynch:

Inspector #20

Inspector #20

Ambassador of Tone
Fallen Star
Country flag
"GL: I very rarely practice, but when I gear up for a record, writing mode or a tour, I’ll lock myself away. Sometimes I’ll drop in at G.I.T. in Hollywood, which is very close to my studio, and teach one on one, sort of unannounced. My chops go through the roof in a week just being around all that. G.I.T. is the epicenter of the technical guitar universe. My oldest son, Sean, is enrolling there for Fall ’03. I’m a 100% ear player with no technical musical knowledge, so it’s very hard for me to explain or teach using traditional methods. Just like with my kids, I try to teach my students by example. (Not that I’ve set a good example by being undisciplined and not applying myself to grasping theory.)”

 
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Michael Wagener (producer Under Lock & Key 1985 ):
"The setup for George's guitar tone on "Under Lock And Key" was as follows:
We had two Marshall heads and two Laney heads, not sure which models, but one of them was a Plexi. We had cabs in three different rooms: two cabs were placed in the big room at Amigo, one connected to a Marshall, the other connected to the Laney. The Marshall was responsible for the high end part of the sound and the Laney was set to take care of the low end. There were 14 (fourteen) mics set up in that room in various psoitions around the cabinet and some further away to get some room tone. The second Laney was sent into a very dead room and had a Boss chorus pedal in front of it, set to very slight chorus. The second Marshall was sent into a small, tiled bathroom, to add a different room tone. Those 16 mics came in on the MCI 500 console mic pres. They were bussed to one bus and that bus had a UREI 530 EQ on it (best guitar EQ ever). George mentioned that he always gets a great tone with his Fostex 4track recorder when it's in total overdrive, so I asked him to bring it in. So after the 530 everything was sent to the Fostex 4track, which lived under a packing blanket under the console, so nobody would see it. The Fostex was on stunn, completely overdriven and was sent on to the 3M 32 track dig machine from there.
 
George sure knows how to play da guitar! He is pretty amazing and one of my favourites. I had the privilege of meeting his guitar tech on another forum. He even showed a video of George playing live and when his guitar strap came loose he helped him on stage to get it back on. He said George Lynch is a great person who doesn't have an inflated ego...one of the nicest persons he's ever met and known.


;>)/
 
gball said:
Always preferred the Lynch Mob stuff to anything Dokken. Really could never stand Don Dokken, what a wank. And Lynch's tone with LM always seemed drier and more articulate.
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This is the post-2000 version of "Wicked Sensation," in which George, uncharacteristically, drop tuned...
 
gball said:
Always preferred the Lynch Mob stuff to anything Dokken. Really could never stand Don Dokken, what a wank. And Lynch's tone with LM always seemed drier and more articulate.
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Now, I personally prefer Lynch's tone on the standard tuning, Pre-2000 version of this song, posted here for your enjoyment... :)

This vocalist reminds me of mix of Sebastian Bach and Dio. let me know your thoughts....

 
Robert Herndon said:
Now, I personally prefer Lynch's tone on the standard tuning, Pre-2000 version of this song, posted here for your enjoyment... :)

This vocalist reminds me of mix of Sebastian Bach and Dio. let me know your thoughts....

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Both good. The newer one is obviously heavier but the original has more punch. Either way a huge improvement over wussy Don Dokken, haha!
 
I'm hoping this attenuator gets me some snarl out of the DoubleNeck, despite it's forward bridge pickup placement....
 
Robert Herndon said:
I'm hoping this attenuator gets me some snarl out of the DoubleNeck, despite it's forward bridge pickup placement....
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Should. The lack of that midrange "snarl" with higher-power amps is what led me to start using 25-watters. I can get that tone at a much reduced volume without having to use the attenuator. Sometimes, depending on what we're doing, I even drop the power setting down to 10 watts and get it even earlier, but I lose some low end tightness in 10-watt mode so I prefer to run full-power most of the time.

Remember though, using an attenuator flogs the power tubes. They'll wear much more quickly, faster even than just running the amp loud all the time. Keep an eye on them in case one starts redplating or something.
 
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gball said:
Should. The lack of that midrange "snarl" with higher-power amps is what led me to start using 25-watters. I can get that tone at a much reduced volume without having to use the attenuator. Sometimes, depending on what we're doing, I even drop the power setting down to 10 watts and get it even earlier, but I lose some low end tightness in 10-watt mode so I prefer to run full-power most of the time.

Remember though, using an attenuator flogs the power tubes. They'll wear much more quickly, faster even than just running the amp loud all the time. Keep an eye on them in case one starts redplating or something.
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Thanks for those tips...I appreciate your experience and expertise!!!

I figured I would run it on 20 watts at first and see what it does at the reduced power setting...
 
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