I have more somewhere, but this is all I could dig up at the moment. I'm going to clean this up to make it easier to read and follow, as well as edit some of the grammar and put it into an "interview context" so it makes sense when you read it. This was from around 3 years ago...
NewWorldMan's "Interview" with Ronnie
(In regards to Facelift)
NewWorldMan: "We Die Young" comes on, and it gets me every time. The tones you dialed in on that album are some of my favorite. Did you plug straight into the amp for rhythms? Were the rhythms the 1X12 cab or the 4X12 Marshall Greenback cab?"
Ronnie: "I recall most of the rhythm parts were done with the G&L's into the Tube Driver into the Fenders. I believe I also doubled parts with a Tele straight into the "Snorkler" with a 'milder' setting."
NewWorldMan: "Do you recall what sort of settings you used? I'm curious how it was dialed in. I believe I recall it previously mentioned that the leads were done in a stairwell with all of the amp knobs on "10?"
Ronnie: "Because we layer tones to get it to sound like one big guitar, I just used my ears. The track tells you what it needs. With the solos, I was trying to capture the excitement of a stadium space without resorting to using effects. I started out with a "crunchy" sound and it got progressively nastier, up to the balls out solo tone. The "Snorkler" has so many subtle and not so subtle variations of color. Bogner is a genius! I like to hit a Fender, Vox, or normal Marshall amp with a lot of gain, overdriving the preamp circuit. A Linear Power Booster (NewWorldMan's Note: see EHX LPB-1 Linear Power Booster, made in the 70s) will give you the same result, where you can turn down the volume knob on the guitar to clean up the tone. This is what I do when I play live, using an A/B box. One side is going to my pedal board, and the other straight into the "Snokler", post wah. The "Snorkler" only hears the guitar into the wah, as it doesn't need any help. Trust me!"
NewWorldMan: "Do you recall what guitars and pickups were used on the album?"
Ronnie: "We used Jerry's G&Ls, a Tele, and my Kramer Baretta with a Duncan JB-1. I've always used those lipstick pickups on the Jerry Jones reissues. As I recall, we had a couple of those. There was a 6 string bass and a guitar, so that tone is in there somewhere, especially on the bass. I doubled the choruses with the 6 string bass, ala John Entwhistle and John Paul Jones."
NewWorldMan: "You mentioned earlier that the rhythm guitar tracks included a Tube Driver and Fender. Do you recall what tracks or parts the (Butler) Tube Driver into the Fender Bassman were used on? I'm curious about that. It sounds like an inventive, but great tonal combo."
Ronnie: "The (Butler) Tube Driver and the Fender Bassman were on every track. They were more like more like "bed tracks" for the Snorkler to jump out of, which isn't to say that we didn't use the Snorkler at all for rhythm tracks (NewWorldMan Note: see comment above on how "Snorkler was used for rhythms). It's more about the tones of the guitars. Pretty much all of the songs had a rhythm, doubled rhythm, and then a center track. Then for the solos...listen in mono, then in stereo. You should be able to hear how it spreads out. The trick is to NOT use the same tone twice on a song, otherwise it gets mushy and loses definition."
"I can't remember if I used my ultra sonic pickups on this record, which is what I've been using for 20 years now. They are a very flat response pickup that really let the amps do their job. I also used a Thiele design 1x12 cab with an EV-12L 250 speaker for most of the tracking. It has a very flat, very tight, and focused sound. I'm not a big fan of 4x12s in the studio, as I never need the kind of volume that they require to break up the signal. Plus, they have no ports (NewWorldMan Note: see the EV Thiele cab design for details on ports), so all of those beautiful low mids and bottom end just resonate the cabinet and are useless unless you use a boundary mic, or let's say a U47 or some other great tube mic a few feet away from the cab. The downside of that is washy phase cancellations. I've recorded everything from blues to jazz and country using the same techniques, and it translates well through all genres."
NewWorldMan: "In regards to the Butler Tube Driver, is the one you used the older 3 knob version from the late 80s and early 90s? There are tons of variations that were made.
Ronnie: "No, I have the old 4 knob version with no bias control. It's an easy mod, but I just like the way this one sounds. I've used different tubes as well, depending on the gig. I've used 12AU7s, 12AX7s, etc. They all sound different. I like the 12AX7s.
NewWorldMan: "When tracking, did you crank the (Fender) Bassman to distort, then slam the front end with the Tube Driver, or did you run the (Fender) Bassman clean and use only the overdrive from the Tube Driver?"
Ronnie: "I always try to start with a good, loud clean tone, just to the point of where speakers will start to break up. Sometimes, depending on the amp and speaker combo, it's at a very low volume. For example, I have a couple of old Tweed '50's Fenders, a Harvard and a Champ 600, that don't take too much volume to get them breaking up, which I prefer to record with. With those amps, I use this box called the "Blue Collar Overdrive" that is such a creamy blues tone. Alternately, I'll hit them with an EHX LPB-1 Linear Power Booster.
I used to use small Vox's (Cambridge, Reverbs, etc) when I was a kid and they screamed when I hit 'em real hard! Tons of sustain and punch, and I could clean up the tone by turning the volume knob on the guitar down to a minimum. To do so, you have to do a capacitor mod across the input/output on your volume pot. I use .022 caps on Strats. Seymour Duncan uses a parallel resistor as well to determine the treble low pass point, just depends on the type of pickup.. I like the top end myself, so I'll just back off the presence a bit on the overall amp and pedal settings. It's always a fine line determined by the environment."
NewWorldMan: "Any other pointers for achieving those types of guitar tones?"
Ronnie: "What a lot of people don't understand is that we used a lot of compression after the Neve preamps while tracking, and a lot more when mixing through the SSL. Hearing that tone and then trying to emulate the sound with an amp mod are so far off base it's criminal! Plus, don't discount all of the low pass and high pass filtering used to carve off the "nasties" to make the tracks fit in the mix. No amp in the world can recreate that signal path, but that's our art form...our painting, as it were." One crucial element is to get the speakers off the floor! It's called "decoupling", and it changes everything. Auralex makes a unit called a "Gramma". It's what works best for that."
"You can make your own decoupler.. Get a 3/4 inch piece of plywood and good dense foam, with points like a pyramid, which is the point of it: decoupling from the floor.. It's an immense difference. When I recorded Jerry's solos, my 4X12 (NewWorldMan Note: Marshall Greenback Cab) was on it's back on a milk crate pointed up! Minimal floor coupling. I can't remember if I had foam or not. It was a last minute thing to do the stairwell trick, and it was Brian Carlstrom that showed me the stairwell. He was a second at Capitol when we were there. I knew him from earlier days at Track Record when we both worked there. In fact, I gave him the job with Jerden. Literally! I was done at that point. Too many production jobs coming at me."
And there you have it. I believe I have more, but that's all I can find right now. If I find more, I'll edit this post to include it. Enjoy!