George Lynch tone on 2nd Lynch Mob disc???????

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singlecutkiller

singlecutkiller

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I doubt anyone else likes it (and i'm NOT sure I do) but it is very unique in my opinion. Especially his lead tone on this disc. It has sort of a round/mellow deal to it.
Anyone know what pickups/amps/effects he was using back then. If I remember right (i'm 43) he was still using some of the same "staples" to his sound, but its different.
Thoughts?????
 
I couldn't tell you much about the gear he used on this one but as much as I loved wicked sensation, I disliked this one.
 
I will never forget watching HeadBanger's Ball waiting for the new video... On comes Tangled In The Web and I about cried lol. I do really like When Darkness Calls though.

I've heard he used a Trainwreck, Bogner modded Marshalls and even a prototype Bogner Ecstacy. I'm not sure if any of it is true though.
 
I always thought/heard it was an SLO for Wicked, and a Bogner for the 2nd but not sure if it was a Bogner modded Marshall or something else..much darker tone on the 2nd..
 
For Wicked, the SLO was used for mostly Rythyms, the Purple Aspen Pittman Marshall was used for leads.

For the 2nd Disk, I think Bogner stuff was used and modded Bogner stuff.
 
Love that album, it's pretty much as good as WS for me. i know what you mean about his tone, but I always thought they mixed the solos a hair too low on that record.

His solo on the Queen cover is pretty terrible though, doesn't fit at all!
 
That album sounds like stock Plexi's to me with not quite enough boost. It sounds like the Tube Screamer had the gain knob off and the level at about 12 o'clock. I think with the gain turned up to 9 o'clock and the level cranked we may be discussing this as one of our favorite Lynch tones.

Compared to most around here I am a moderate gain guy, but even I thought his tone wasn't quite mean enough on this disc. Still a cool disc but a massive drop off from Wicked Sensation in every area IMO.

And I don't hear Bogner type tones on here at all. Maybe Blue Channel dialed in like an old Marshall.
 
I love the 2nd album almost as much as WS. Both are superb. The rigs from WS and the S/T album may be similar according to his site, but I think that the production to me was a lot darker overall on the 2nd Lynch Mob album, which is why it doesn't sound like a typical high gainer rock album. Still great to listen to. Years ago I had thought the way everything was recorded sounded a little like Eric Johnson sort of tone (mostly how he sounded on the G3 tour). Just my perception anyway.

To my knowledge, George didn't start using the Bogner stuff until after that album, when he did his solo record Sacred Groove. Lots of Bogner goodness on there.
 
This is from the old Lynch website from years ago. This is his studio rig for that cd:
"Sometimes you try things and it doesn't work. So you fall back and do things that you're more familiar with, which is just going straight-ahead balls-out," George said of the recording for the second Lynch Mob album. Simply titled, "Lynch Mob," George returned to a more simplistic approach to recording his guitar sound in 1992.

"I bought two 50-watt Marshall plexi's in Japan six months earlier. When they got delivered, they sounded great. That's what on the record. I didn't use anything but the plexi Marshalls and a Soldano, which are the obvious things to use."

Using the Marshall and Soldano setups in conjunction with each other in an A/B situation, "...the Marshall gave it that warm fluid tone and the Soldano had a little bit more of the bite and crunch. Together they sound real nice," George described. In the front end, he brought in his Ibanez Tube Scremaer TS-808 to goose the amp's input a little.

Other pedals present came out of what was known as "George's Toy Box." An assortment of pedals made their way onto the floor like the Sustainiac, a Boss GE-7 e.q. and a Vox chrometop wah pedal.

In summary, George's tone is consistent throughout the entire record. He would change his style of playing per each individual song, but refused to alter the gear in any form. "How many times have people gone into the studio, had something nice, changed it and gone for something different and never got it back? George recounts. Barriers were put up forming a little room in the corner of the studio where George positioned himself to record. "I had 17 guitars back there and all these pedals and this huge amount of stuff. Nobody wanted to go back there. I had cups and junk. I said, 'Do not clean this up.' (Producer) Keith Olsen was going nuts, saying, 'Just let them come in and clean it, George.' I said, 'No, that'll spoil it.'"

Along with the ESPs, and PRS guitars in the studio, a sitar and a G&L Comanche (which would also be included on "Sacred Groove") found their way into the mix of junk behind that barricade of George's. Also in the studio came a peculiar amp known as the Trainwreck, built by Ken Fisher of Colonia, NJ. This will also figure into George's "Sacred Groove" solo album.
 
And here's the one from the touring rig for the same cd:
"On tour with George for the 1992 Lynch Mob tour was similar to what was in the studio. He had aquired two Marshall plexi amps from Japan just prior to the recording of the second Lynch Mob self-titled album. Seeking that sound but with a little more balls, the primary Marshall on this tour was a '72 Marshall Super Lead with the plexi faceplate. While other Marshall 100-watt heads (JCM 800s, and other early 70s Marshall Super Leads) were to accompany him, this was the primary one.

Also on board were two Soldano SLO 100-watt heads (one for backup). These were two of four made with a special depth knob and covered in snakeskin-printed tolex. These heads were the primary source of searing gain and shattering crunch.

The two amp setups had signals going to a new kind of speaker cabinet made by Genz Benz. Made in Phoenix, AZ, these cabinets were designed to deliver sound in a more forward projection via internal front-to-rear speaker baffles. Just as a backline wall of them were set up onstage, the actual functioning rig was at the far left-hand side of the stage.

Switching for the two amps was done via an A/B/Y footswitch that allowed George to go from either amp or to use both in conjunction with each other. As stated during the recording of the album, George used various distortion/overdrive pedals to juice up the input of the guitar to the amps. Again, the Tube Screamer, among others, would be there to provide a push into the amp inputs.

Just like the previous tour, the rack containing signal processing was on this tour. Keeping coloration to a minimum, most of the use of these items was simply to clarify the guitar tone. The Lexicon PCM 70 or the Roland SDE3000 were on hand for delay and chorus. To clear up the signal was a BBE Sonic Maximizer 422.
 
Thanks Guys,
I loved WS too but man.........Robert Mason is a singing bitch.... Loved his vocals on the 2nd album and the 2nd Cry of Love disc.
So I like the LM disc better. Nothing against Oni Logan, just prefer Robert Mason.

And I agree that he had a bit of an Eric Johnson thing going on (not exactly, but his tone has hints)
 
Thanks Guys,
I loved WS too but man.........Robert Mason is a singing bitch.... Loved his vocals on the 2nd album and the 2nd Cry of Love disc.
So I like the LM disc better. Nothing against Oni Logan, just prefer Robert Mason.

And I agree that he had a bit of an Eric Johnson thing going on (not exactly, but his tone has hints)
 
Using the Marshall and Soldano setups in conjunction with each other in an A/B situation, "...the Marshall gave it that warm fluid tone and the Soldano had a little bit more of the bite and crunch. Together they sound real nice," George described. In the front end, he brought in his Ibanez Tube Scremaer TS-808 to goose the amp's input a little.
Click to expand...

Chubtone for the win with his guess of a TS just barely driving the front end. I also found the second lynch mob album to be a little less rockin but nonetheless was a great follow up album. Tangled in the Web has a kick ass groovy riff and I thought Mason's voice was incredible. Liked him a tad better than logan as well. I think Mason has been singing with Warrant hasn't he? Still has his pipes. Now that third album of revamped heavy tunes was god awful.
 
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