I re-posted this from GL's old site regarding Lynch Mob studio gear, but the GL forum is gone. Here it is:"Sometimes you try things and it doesn't work. So you fall back and do things that you're more familiar with, which is just going straight-ahead balls-out," George said of the recording for the second Lynch Mob album. Simply titled, "Lynch Mob," George returned to a more simplistic approach to recording his guitar sound in 1992.
I bought two 50-watt Marshall plexi's in Japan six months earlier. When they got delivered, they sounded great. That's what on the record. I didn't use anything but the plexi Marshalls and a Soldano, which are the obvious things to use. Using the Marshall and Soldano setups in conjunction with each other in an A/B situation, "...the Marshall gave it that warm fluid tone and the Soldano had a little bit more of the bite and crunch. Together they sound real nice," George described. In the front end, he brought in his Ibanez Tube Scremaer TS-808 to goose the amp's input a little.
Other pedals present came out of what was known as "George's Toy Box." An assortment of pedals made their way onto the floor like the Sustainiac, a Boss GE-7 e.q. and a Vox chrometop wah pedal. In summary, George's tone is consistent throughout the entire record. He would change his style of playing per each individual song, but refused to alter the gear in any form. "How many times have people gone into the studio, had something nice, changed it and gone for something different and never got it back? George recounts. Barriers were put up forming a little room in the corner of the studio where George positioned himself to record. "I had 17 guitars back there and all these pedals and this huge amount of stuff. Nobody wanted to go back there. I had cups and junk. I said, 'Do not clean this up.' (Producer) Keith Olsen was going nuts, saying, 'Just let them come in and clean it, George.' I said, 'No, that'll spoil it.'"
Lynch Mob 1992 Live gear:On tour with George for the 1992 Lynch Mob tour was similar to what was in the studio. He had aquired two Marshall plexi amps from Japan just prior to the recording of the second Lynch Mob self-titled album. Seeking that sound but with a little more balls, the primary Marshall on this tour was a '72 Marshall Super Lead with the plexi faceplate. While other Marshall 100-watt heads (JCM 800s, and other early 70s Marshall Super Leads) were to accompany him, this was the primary one. Also on board were two Soldano SLO 100-watt heads (one for backup). These were two of four made with a special depth knob and covered in snakeskin-printed tolex. These heads were the primary source of searing gain and shattering crunch. The two amp setups had signals going to a new kind of speaker cabinet made by Genz Benz. Made in Phoenix, AZ, these cabinets were designed to deliver sound in a more forward projection via internal front-to-rear speaker baffles. Just as a backline wall of them were set up onstage, the actual functioning rig was at the far left-hand side of the stage. Switching for the two amps was done via an A/B/Y footswitch that allowed George to go from either amp or to use both in conjunction with each other. As stated during the recording of the album, George used various distortion/overdrive pedals to juice up the input of the guitar to the amps. Again, the Tube Screamer, among others, would be there to provide a push into the amp inputs.Just like the previous tour, the rack containing signal processing was on this tour. Keeping coloration to a minimum, most of the use of these items was simply to clarify the guitar tone. The Lexicon PCM 70 or the Roland SDE3000 were on hand for delay and chorus. To clear up the signal was a BBE Sonic Maximizer 422.
