LPD Tone Clone - Dokken/George Lynch Lightning Strikes Again

groovenut

groovenut

Power User
This is a tone match of the rhythm guitar using the intro as reference. There is some reverb, slap delay, and what I think is immobilized flanger on the tone. I think this gets pretty close. I was trying a new technique with this one to see if I could get as good or better results in less time. I think the results are good but I need to optimize the workflow. BTW, the intro on this tune has a pretty crazy stretch to it....damn you George ;p

 
Just to clarify, this preset is not the same as the Wicked Sensation preset I released earlier. This is his earlier tone, centered around a Marshall Super Lead.
 
Under Lock and Key was one of my favorite Dokken albums. Really decent songs and great Lynch-isms throughout. Plus really decent guitar tones!
 
groovenut said:
Just to clarify, this preset is not the same as the Wicked Sensation preset I released earlier. This is his earlier tone, centered around a Marshall Super Lead.
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Wasn't that the same amp that Slash used on Appetite? Amp #39 ?

(BTW It was pleasure to meet you [I asked you about TM with reverb and effects.Guy in the back with the blond on the side :)])


Awesome preset! Thanks for sharing!
 
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levipeto said:
Wasn't that the same amp that Slash used on Appetite? Amp #39 ?

(BTW It was pleasure to meet you [I asked you about TM with reverb and effects.Guy in the back with the blond on the side :)])
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I think it may have been the same one, though I am not sure. If it was the Caswell, then the Super Brit model may have gotten there easier and without the drive pedal. However that is the beautiful thing about the AxeFx, we can get any tone any number of ways!

Very nice to meet you as well! We'll have to chat more the next time. Maybe to some jamming!
 
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"As previously stated, George Lynch discovered #39 in late 1985 during rehearsals for Dokken’s “Under Lock and Key” tour. George rented the amp for *only* the *first leg* of this tour (and the *full* tour concluded in September 1986). Guns N’ Roses began recording “Appetite” in August 1986, and the recording was completed in December 1986. This means that Slash probably began renting *his* Marshall from S.I.R. at some time during the Summer of 1986 (August at the very latest, but probably more like June or July). As you can see, there is a virtually seamless timeline here. Following its return to S.I.R. by George Lynch, #39 probably hadn’t been back at S.I.R. for more than a couple of months, at the most (and possibly a much shorter time period), before Slash scooped up his Marshall for “Appetite.”

"So exactly what model Marshall was #39? Although records are not perfect with respect to the year that the amp was manufactured, it is known that the amp was a 100W Marshall Super Tremolo (Model 1959T), built sometime between 1965 and 1973. The amp was a hand-wired, pre-master volume model, although it is unclear whether the head was of the “Plexi” variety (’65 through mid-’69) or the later “Metal Panel” variety (mid-’69 through mid-’73, since Marshall replaced hand-wiring with printed circuit boards in mid-’73). "
 
So it would appear according to your posts quote that he didn't discover that amp (Caswell's #39) until after the album was recorded and while they were rehearsing for the tour. So he would have used a different amp for the recording. My guess would still be a Plexi Super Lead with a tube screamer in front of it. That's what I used for the preset and I think it gets very close.

Thanks for the great info!
 
This may help. A buddy of mine who knows Michael Wagner told me this story years ago. I didn't remember the whole thing so I just sent a txt asking specifics. This is his reply.

"Yeah, Cherokee Studios in LA tracking Under Lock & Key. MW's usual setup (I believe): ADA MP1, McIntosh SS Amps (MW said he thought it was all the iron in the huge transformers that gave 'em the balls) into a couple of MW's Marshall 4/12s... I could be wrong; this may have been before MW started running everyone through the exact same ADA/Mc chain. Fostex ribbon mic on the one perfect greenback in his favored cab, probably blended with Beyer M160 ribbon and a U87 out in the room.

GL just wasn't happy with the tone. He commented to MW about how his songwriting demos always had a great guitar tone. After much experimentation, they came to the conclusion that the little POS Fostex 4-tracks (slightly overdriven inputs) had the magic fairy dust they were missing. So, GL brought his POS into the million dollar room and they patched it into the insert on the console. BAM; there's the magic! They didn't want to break it down every night and have to dial it back in the next day, but they also didn't want to give away GL's secrets to massive tone, so they kept it under a blanket under the console so no one would see it or mess with the gain structure. True Story, right from the horse's mouth... Enjoy

Oh, and you might want to mention that Extreme, White Lion, Saigon Kick, Testament, Dokken, Accept, Ozzy, etc. Each of those guitar sounds were achieved through the exact same pre/amp/spkr/mic chain using only 2 or 3 of MW's tweaked presets. Only difference in tone was guitar and player. Tone's in the Bone..."
 
Makes sense to me. In which case I could take my PornograNuno patch and tweak it slightly and have all of the above mentioned bands tones with relative ease. Good info. I know most of that info from previous info explorations, but some of it was indeed new and I thank you for it!

All I have to do now is model that POS Fostex... :D

Cheers!
 
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