Under Lock and Key

  • Thread starter Thread starter Mr. Willy
  • Start date Start date
Using the Creation Audio Labs MW1 Studio Tool (ala Michael Wagener) or a Radial Reamp, you can run the Rockman modules into the frontend of any amp (studio or live). Michael has been reamping for years, along with an assortment of other techniques.
 
This is a response to 'Hack' who stated that a Distortion Generator was seen in a photo from the ULAK sessions on George Lynch's old website. This would have not been possible as the album was released in November 1985 and the DG wasn't released until 1987. That being said, it would most certainly have to be an X100 as even the Rockmodule series wasn't released until 1986. Good ear BTW, I never really noticed the Rockman sounds on this album until I read your comment!! \m/
 
...I preferred the tone on back for the attack and ratt's dancing undercover... You can def hear that real amps are being used without too much pedal- or other stuff squishing the signal. All the songs were good on the earlier stuff but the tone on invasion and ULAK seems thin with an artifical pedal overtone to me :dunno:
 
Personally, I prefer Wicked Sensation to ANYTHING else he's done, and he used EVERYTHING but the kitchen sink on that record, Epic tone !
 
Wicked Sensation and Back For The Attack are my fave Lynch tones
 
zz666":35239bw6 said:
Wicked Sensation and Back For The Attack are my fave Lynch tones
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totally this

on wicked sensation the tone on "for a million years" is outstanding and my favourite tone EVER...seems fatter to me that the rest of the album (les paul maybe??)
 
Ive been listening to "Under Lock and Key" a lot, lately...

It is SO good.

And i dont like how Don sings at all, but still.
 
Under Lock and Key is my favorite record from Dokken. My vocalist has worked with Neil Kernon (quite a bit actually) who also worked on that record. From what he says, it took them a very long time to track Lynchs stuff, something around six weeks. Whatever they used on that record the tone is awesome. My favorite Lynch tones. Wicked Sensation is probably my second favorite.
 
paulyc":2itkuztc said:
Personally, I prefer Wicked Sensation to ANYTHING else he's done, and he used EVERYTHING but the kitchen sink on that record, Epic tone !
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+1
 


BFTA & ULAK was the modded 1959T SIR Caswell Marshall amoung other things IMO... :confused:

ULAK had alot more effects.
 
I read some crap too about that particular 808 having some Malaysian chip variant that was a smooth boost rather than a distorted one. I think even Gerry would say who knows, so much equipment, so many sessions...hard to go back 25 years and be that accurate.
 
BFTA followed closely by Tooth And Nail. The lead on Just Got Lucky us killer
 
BFTA and Wicked Sensation destroy as far as tone and his playing. Still love ULAK and TNT too!!! Saw them on TNT opening for Dio and ULAK opening for Loverboy. Both shows rocked but they were short since they were the opening band!!! I could of lived without Loverboy though!! :lol: :LOL: :lol: :LOL: :lol: :LOL: The Wicked Sensation show was my fave though!!! George was on fire!!! Saw them at The Ritz in Roseville, MI!!
 
paulyc":2zxcwiqq said:
No- they just use the low end of one amp by turning down the highs at the board and emphasizing the lows on the amp, and then doing the opposite with the other amp...you also vary the amount of low or high end in the sound by riding the fader volumes...when you want more lows you bring up the low end amp's volume at the fader and vice versa. Jerry Cantrell has been blending amps for YEARS, as does Metallica and scores of other big names. I would bet that this has been a common practice with rock guitar sounds forever. Billly Gibbons is notorious for this, as was SRV...so the blues guys have been doing it too.
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Sorry that I am a year behind in replying, but thanks for explaining that.

I guess then that if you really want to blend amps, you would need a mixing desk.
 
Lurchhammer":i3s8gzkn said:
This is a great resurrected thread!

I've been trying to get a very specific element of this 'Rockman type of saw/grind/buzz/grit/clipping' whatever you call it to add to my sound. Can anyone tell me what I'm hearing in these clips? They all have a specific chainsaw type of distortion/grit in common that is very unique and not smooth- very aggressive! Is it a Rockman, an effect like a stuck-chorus, or a pitch harmonizer +/- 12 cents, or maybe even just a few millisec delay? Any help would be GREATLY appreciated!!!


https://www.youtube.com/watch?v=kyePfnR3DmA&sns=em 0:00 to 0:15
https://www.youtube.com/watch?v=eSMZkF8JDuk 0:00 to 0:17 then bigger from 0:18 to 0:35
https://www.youtube.com/watch?v=d45HmdK0b5E 0:26 to 0:32
https://www.youtube.com/watch?v=vWZBExczoGc 0:05 through 0:25 (*Bonus! check out 3:20 to 4:15, it sounds exactly like old Yngwie like in Steeler!)
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Here's another clip of Shrine->
0:05 through 0:25



I'm still trying to work out how this effect was achieved, even though I already have a Rockman Chorus.


There's just something about that snarling ripple effect isn't it!?? :rock:


I know that Andy LaRocque & Mike Denner both used Metaltronix preamps with Alesis Quadraverb effects rack units (I think??) for that album.
 
Kapo_Polenton":1ewfge4f said:
Wasn't that the 808 into balls out superlead?
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No...Boss Super Overdrive. Look at his REH video, you can see his guitar cord come out of the guitar, go to a little yellow Boss box on the floor, and then into Aspen Pittman's purple super lead...then you have all of the outboard gear plus Max Norman at the desk tweaking it...
 
rp108":3qxi0h0h said:
Under Lock and Key is my favorite record from Dokken. My vocalist has worked with Neil Kernon (quite a bit actually) who also worked on that record. From what he says, it took them a very long time to track Lynchs stuff, something around six weeks. Whatever they used on that record the tone is awesome. My favorite Lynch tones. Wicked Sensation is probably my second favorite.
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Neil worked on Back For The Attack. Michael Wagner did ULAK.
 
+1 on Wicked Sensation

Someone mentioned F'or a Million Years' from that album and I'm not sure where I saw it but it was either that song or 'Rain' that he used a Fender Champ amp for the lead

Love these threads!
 
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