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..."