Cool Back Story Article on the Appetite for Destruction Tone

  • Thread starter Thread starter King Guitar
  • Start date Start date
Part of my 'bible'
There is good info on Caswell's site and Slash's bio as well.
Slash :inlove:

He's right about some trem on some of the songs.
There are many pics of Slash and his Mockingbird at the studio in the Reckless Road book (best Gn'R book ever)
 
That was a very cool article. I read all the Slash stuff before, but I never knew about the Lynch connection with the amp. Very cool.
 
Cool stuff! I read an interview with Lynch and he had said that Warren DeMartini has an old Marshall that was the best sounding amp he had ever heard and he had offered Warren a lot of money to buy it but he would'nt sell it. Lynch said one night he and Warren got really drunk and Warren passed out and George took the amp home but he returned it the next day just as a joke!! :lol: :LOL: :lol: :LOL:
 
He/saul/slash should also include that his dad worked for geffen when they were signed to







Geffen. Cool article none the less.
 
Shawn":inbighwx said:
He/saul/slash should also include that his dad worked for geffen when they were signed to Geffen. Cool article none the less.
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So it was a bro down signing ???
 
Funny how there's no mention of the Mesa Boogie halfstack on the back of the Appettite album cover. That was what Izzy used i believe so isn't fair to say that Izzy's tone was responsible for most of the rhythm work?
 
danyeo":1p73as29 said:
Funny how there's no mention of the Mesa Boogie halfstack on the back of the Appettite album cover. That was what Izzy used i believe so isn't fair to say that Izzy's tone was responsible for most of the rhythm work?
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I believe Izzys amp gear in the Studio for the AFD sessions were:

Guitars: White Gibson ES-175, Gibson Les Paul Custom, Fender Telecaster, ESP Telecaster with a Floyd Rose.

Amps: a New at the time 1986 Mesa Mark III & a 1960's Fender Bassman Blackface head with Mesaboogie 4x12 cabinet with EV speakers in the bottom and Celestions on top.
 
So Brad when are you sending Mr. Caswell a Marshall to mod??? :D :rock:
 
yngzaklynch":3tc1p25x said:
So Brad when are you sending Mr. Caswell a Marshall to mod??? :D :rock:
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Man you should audition for Matlock the Movie... :D
 
You know there is another part to that story. It goes on to say that #39 was used for rehersal, but when they went on to record it was rented out, so SIR sent over #36, which was supposed to be modded like #39 (by some other dude) with some other tweaks, and Slash never noticed that it was different. The same guy (I think) wrote the second part. I believe I read it on the Marshall Forum. Also I read an article with Mike Clink and he said that he never liked Carvins but they seemed to work for Izzy.
 
rareguitar":1vmiib25 said:
yngzaklynch":1vmiib25 said:
So Brad when are you sending Mr. Caswell a Marshall to mod??? :D :rock:
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Man you should audition for Matlock the Movie... :D
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I'm not sexy enough fer the part. :lol: :LOL:
 
danyeo":1z8kjar2 said:
Funny how there's no mention of the Mesa Boogie halfstack on the back of the Appettite album cover. That was what Izzy used i believe so isn't fair to say that Izzy's tone was responsible for most of the rhythm work?
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I read all this hype about Slash's tone and I think the only reason his tone was good was because it was balanced out by Izzy's very different darker tone. I don't understand why Slash gets all the credit...Izzy is all over that record. Slash plays rhythm but Izzy's rhythm is almost more akin to a simpler bass-type line in some spots....his "plunk-plunk" is really holding a lot of it down as far as the overall tone IMO.
 
the next time you come across a (presumably beat-up and heavily-gigged by now) modified ‘65-’73 Super Tremolo, open up the back of the amp. If it’s signed and dated (in 1985 or earlier) by Tim Caswell, it’s not only the first amp that Tim performed his signature modification on - it very well might be one of the most influential, and mysterious, amps in rock n’ roll history.
 
Very cool read! Didn't Lynch also have a thing for Aspen Pittman's purple Super Lead?
 
guitarslinger":27w1ouqg said:
the next time you come across a (presumably beat-up and heavily-gigged by now) modified ‘65-’73 Super Tremolo, open up the back of the amp. If it’s signed and dated (in 1985 or earlier) by Tim Caswell, it’s not only the first amp that Tim performed his signature modification on - it very well might be one of the most influential, and mysterious, amps in rock n’ roll history.
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I am telling you guys the guy from the Marshall amp forums owns it right now, he is from Southern California.
 
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