I'm not a huge Dokken fan, but...

[spirit7]

This track (and album) are fucking genius:

http://www.youtube.com/watch?v=l9FQTcB1Rag

What's he playing through on that record?



-C

 

[gtrwun]

Per Micheal Wagner.......

The setup for George's guitar tone on "Under Lock And Key" was as follows:

We had two Marshall heads and two Laney heads, not sure which models, but one of them was a Plexi. 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. Those 16 mics came in on the MCI 500 console mic pres. They were bussed to one bus and that bus had a UREI 530 EQ on it (best guitar EQ ever). George mentioned that he always gets a great tone with his Fostex 4track recorder when it's in total overdrive, so I asked him to bring it in. So after the 530 everything was sent to the Fostex 4track, which lived under a packing blanket under the console, so nobody would see it. The Fostex was on stunn, completely overdriven and was sent on to the 3M 32 track dig machine from there.

No, I am NOT kidding!!!

 

[spirit7]

Per Micheal Wagner.......

The setup for George's guitar tone on "Under Lock And Key" was as follows:

We had two Marshall heads and two Laney heads, not sure which models, but one of them was a Plexi. 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. Those 16 mics came in on the MCI 500 console mic pres. They were bussed to one bus and that bus had a UREI 530 EQ on it (best guitar EQ ever). George mentioned that he always gets a great tone with his Fostex 4track recorder when it's in total overdrive, so I asked him to bring it in. So after the 530 everything was sent to the Fostex 4track, which lived under a packing blanket under the console, so nobody would see it. The Fostex was on stunn, completely overdriven and was sent on to the 3M 32 track dig machine from there.

No, I am NOT kidding!!!

Ha ha - no wonder it sounds so good!

-C

 

[Kapo_Polenton]

lol, so f-cking complicated just to get a few guitar tracks! Love it though, Wagner produced some great albums. Wonder how many mics they actually used in the end. I hear at least two guitars there coming through though. Lynch used to really rip back in the day... as for the Marshalls, I am going to guess one was his famous purple plexi boosted with one of a zillion OD's, fuzzes, or distortions he has under the gear section of his site?

 

[Kapo_Polenton]

How did the fostex fit into the signal chain? from the mic through the fostex with gain boosted so it distorts and then into console? Sneaky George sneaky!

 

[primerib]

Per Micheal Wagner.......

The setup for George's guitar tone on "Under Lock And Key" was as follows:

We had two Marshall heads and two Laney heads, not sure which models, but one of them was a Plexi. 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. Those 16 mics came in on the MCI 500 console mic pres. They were bussed to one bus and that bus had a UREI 530 EQ on it (best guitar EQ ever). George mentioned that he always gets a great tone with his Fostex 4track recorder when it's in total overdrive, so I asked him to bring it in. So after the 530 everything was sent to the Fostex 4track, which lived under a packing blanket under the console, so nobody would see it. The Fostex was on stunn, completely overdriven and was sent on to the 3M 32 track dig machine from there.

No, I am NOT kidding!!!

holy signal chains batman!

 

[sandman]

 

[Kapo_Polenton]

This is kinda cool. I think you could get the flavour using the leTekro trick with the BOSS BF-2 though.

 

[Jofipe]

Can never get enough of this!

 

[Ventura]

Per Micheal Wagner.......

The setup for George's guitar tone on "Under Lock And Key" was as follows:

We had two Marshall heads and two Laney heads, not sure which models, but one of them was a Plexi. 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. Those 16 mics came in on the MCI 500 console mic pres. They were bussed to one bus and that bus had a UREI 530 EQ on it (best guitar EQ ever). George mentioned that he always gets a great tone with his Fostex 4track recorder when it's in total overdrive, so I asked him to bring it in. So after the 530 everything was sent to the Fostex 4track, which lived under a packing blanket under the console, so nobody would see it. The Fostex was on stunn, completely overdriven and was sent on to the 3M 32 track dig machine from there.

No, I am NOT kidding!!!

holy signal chains batman!

There is something to the "puritan" approach we're seeing more of nowadays

 

[Rash]

By checking the steeler amp simulation of schuffham´s s gear, I got a very similar tone, the steeler has that quite special lynch midrange honk, which resembled me a lot of that under lock and key sound, although I prefer the amplitube slash marshall (way less midrangey marshall sound), the scuffham steeler was a lot more dokken (even more than the amplitube soldano).

Unfortunately my try period of the scuffham has expired.

Try some additional redwirez greenback cabs, makes it also a bit better.

The Rodenberg 707 in front of my DI and Amplitube´s Moeller made it even more cool.

Kai

 

[OUTLAW1969]

How did the fostex fit into the signal chain? from the mic through the fostex with gain boosted so it distorts and then into console? Sneaky George sneaky!

Yep, I heard that the "secret" was the Fostex trick, too.

 

[Anonymous]

And they thought I was silly buying up all those fostex 4 tracks...Step right up Sheeple!! umm..I mean People!!

 

[Digital Jams]

Per Micheal Wagner.......

The setup for George's guitar tone on "Under Lock And Key" was as follows:

We had two Marshall heads and two Laney heads, not sure which models, but one of them was a Plexi. 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. Those 16 mics came in on the MCI 500 console mic pres. They were bussed to one bus and that bus had a UREI 530 EQ on it (best guitar EQ ever). George mentioned that he always gets a great tone with his Fostex 4track recorder when it's in total overdrive, so I asked him to bring it in. So after the 530 everything was sent to the Fostex 4track, which lived under a packing blanket under the console, so nobody would see it. The Fostex was on stunn, completely overdriven and was sent on to the 3M 32 track dig machine from there.

No, I am NOT kidding!!!

holy signal chains batman!

There is something to the "puritan" approach we're seeing more of nowadays

Nothing more pure than RISC processors to play a guitar through.

 

[Kapo_Polenton]

What do these fostex decks run? Is it any Fostex that will do or only specific models with the same guts platform?

 

[chumbucket]

This is kinda cool. I think you could get the flavour using the leTekro trick with the BOSS BF-2 though.

What's the LeTekro trick?

 

[Jdguitar]

George had the best tones back in the 80's...right up until the first Lynch Mob cd.

 

[Kapo_Polenton]

What's the LeTekro trick?

Boss flanger BF-2. Set all knobs to zero and HELLO mid range boost! It is actually quite cool. For one he had mid heavy modded Marshalls and cranks his mids but if you just want that slight mid kick, this is honestly a great trick. Thank Chubtone and a few others for unearthing this trick. It kind of gives that furman EQ tweak to the sound. Can get some very cool 80's tones. Not a bad flanger either!

 

[metalmaniac93]

I am a huge fan of Dokken and this LP is excellent and one of their best along with T&N and BFTA!!! His tone was awesome especially on Under Lock and Key!!

 

[Electric I]

http://soundcloud.com/rat-pak-records/its-not-love