Instead, Lynch builds these guitars for dedicated fans, customizing each one to the specifications of the buyer. Although he typically does not use these guitars in the studio or live, he is known for playing these custom pieces for the purchasing fans. These guitars have wide, flat C-profile quartersawn maple necks, stainless steel frets, and high-quality woods. Lynch even uses noxious black limba for some bodies mainly based on Stratocaster or Super Strat shapes, wearing a double industrial breather in order to work on this delicate tonewood.
Frequently, the Mr. Scary line features distinctive or unique finishes, including the Snake Charmer, which Lynch builds using the skin of captured rattlesnakes from his ranch in the Mojave Desert. He owes this tone in no small part to his choice of high-powered tube amps, often preferring the natural-sounding power amp drive to the fizzy, high-gain distortion of many of his s contemporaries.
What self-respecting 80s shred lord would be complete without a Marshall Plexi? Lynch was using a Marshall Plexi back in the Dokken days when he was playing a fifty-watt model. It has endured no modifications from Lynch, a notorious tinkerer who often replaces tubes in his amps by hand, biasing them himself by ear.
George Lynch was not immune to the charms of the high-gain SLO when it came time to record the first Lynch Mob record in the late s. That other amp is usually a Marshall, Soldano, or Diezel amplifier. George Lynch uses his signature amp to capture various iconic tones from over the course of his career. It boasts three modules: Brahma, Mr. Scary, and Grail. These three preamp modules run into JJ EL34 power tubes.
George Lynch has long been a fan of the high-gain boutique Diezel amps, often playing their Herbert and VH4 models in conjunction with his Lynch Box. George Lynch modified his Diezel Herbert MK3 model to dial back the level of compression in its tone, likely to aid in his notably dynamic playing style. Lynch has used the Cusack Screamer, an Ibanez Tube Screamer copy, and the HomeBrew Electronics Skullcrusher, which, like his signature boost, allows players to switch between clean boost, overdrive, and distortion.
When it comes to echo effects, Lynch owns an arsenal of his preferred Tape Echo sound, he claims his devotion for this sound comes from the pure organic effect it delivers. Generally, Lynch uses his Phase 90 for additional texture during his guitar solos. George has been known to use the Zvex Seek-Trem, a miniature amplifier that mimics the springy tremolo sound of s Fender amps.
His DejaVibe was handmade by Mike Fuller in and is an original model. Of course, Lynch also makes use of some wah pedals, most notably his signature model from Morley, the Dragon 2. Generally, Lynch runs his guitar straight into the Dragon 2 before then running the signal through the rest of his pedalboard.
More recently, Lynch has taken to a vintage Vox Clyde McCoy wah pedal, using that in place of his Morley signature model. We appreciate your support! Think you know something about guitar gear? George Lynch is a Hard rock guitarist best known as a member of the band Dokken. Lynch has been an endorser of ESP guitars since but has a huge collection of guitars and gear.
We'll give you a good rundown of what he has in his rig. Also make sure to check out our interview we did with George Lynch, he was one of the first Uber Pro Audio interviews! If you want more info on his gear he gives full descriptions on everything take a cruise over to the George Lynch site.
Note his rig changes on every tour so this list may not be complete. Let's look at some of the gear and equipment that has been seen in George Lynch's guitar rig. If you have a favorite piece of gear that you know George has used and isn't on the list yet, feel free to add a comment. Guitars George has so many guitars. Discussion in ' The Cellar ' started by John , Sep 28, Log in or Sign up. Marshall Amp Forum. This is straight from Michael Wagener.
Wagener is the King Kong of getting the best guitar tone to tape in the world as far as I am concerned. 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.
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