How does Lynch do this?

ZR4400

ZR4400

Member
Help an amateur with this question that I should know after playing guitar for 25+ years. I am asking for your input, as I have multiple solutions running through my head. They are all probably wrong. :doh:

So, I am on a quest to cop GL solo "grease" on "Back for the Attack"

I have the short delay figured out on the rhythm parts, but I am wondering what the hell he or the producer "kicks in" to create the solos.

Case in point......pick any song on the 1987 release......Kiss of Death for example.

https://youtu.be/qrvtBYzGQYU

I hear reverb & boost "kicked in", for the solos. Hell maybe it is a long delay. I have also heard at one point he may have used a Sustaniac. Maybe this is what the ticket is.

Thoughts?? Thanks in advance for your suggestions.

I am not looking to cop the tone. I am looking for the "grease" used to slather up the solos? :D
 
Just sounds like a little chorus and delay. I’ve learned to not try to emulate studio recordings 100% since there are so many things that impact tone and can’t easily be recreated at home (mics, placement, amp, cab, effects, producer, etc).
 
yeah really just sounds like chorus

I found the best way to cop most 80's recorded tone is running a wet/dry set up, that way you get a good clean effects sound without washing out the drive tone.
 
sytharnia1560":30zxlm7v said:
yeah really just sounds like chorus

I found the best way to cop most 80's recorded tone is running a wet/dry set up, that way you get a good clean effects sound without washing out the drive tone.
Click to expand...


THIS :thumbsup:
The straight amp tone is CRUCIAL and then the effects are frosting.
George is an amp hound, plays EVERYTHING, Bogner, Marshall, Soldano, Diezel, etc...
Most likely blends amps on ALL the recorded stuff, although live is another matter.

Wet/dry/wet really makes a big difference. Many ways to do this, however live it can become a large undertaking and a lot to carry as well as set up and tear down.
Still, great tones can be had this way.
 
I think some of the early stuff was run through a fostex recording deck to add the grit. On that opening riff, you do hear that sort of aggressive fizz over top of the tone and that is probably the factor there. As for the leads, just drenched in verb and delay as the others have mentioned.

Here is an exhaustive thread of everything Lynch from 2013. This is where I heard about the fostex and later I found a vid (which i can no longer find) of someone reamping through the fostex to get that tone and it sounded very close. There are a lot of good suggestions on the thread though. Essentially Lynch uses anything and everything and who really knows what his recipe was besides his fingers doing the work. viewtopic.php?f=3&t=92065&start=200
 
Wasn't there also a Rockman in the mix for most of the early stuff? That could explain the chorus/delay heard...
 
Thank you for pointing me to the thread. That is what I was looking for. Rockman Chorus & Lexicon PCM 42
 
I always concentrated on learning the solo's first and the vibrato style...the rest is just finishing
 
I was in high school when those Dokken albums came out and people were just absolutely crapping themselves when we heard those solos and that tone. It can't be overstated that the tones on Lock and Key and the overall sound of the album was so far ahead of a lot of stuff out there. Just sounded so polished.

I know 80s hair metal gets some people rolling their eyes sometimes but anyone who was around during those years will tell you that DeMartini, Lynch, Jake E. Lee, etc. were just killin' it. They were all in friendly competition with each other and coming out with solos that just blew your mind. :)
 
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