J
jasonP
Well-known member
Love the looks of it. I don't think I have ever seen one.
I really like the playing on these overdubs. Sounds sweet to me as well.
Jason
Love the looks of it. I don't think I have ever seen one.
I really like the playing on these overdubs. Sounds sweet to me as well.
Jason
scottosan
Well-known member
scottosan
Well-known member
It's an ESP, an older one witht he strat head
glpg80
Well-known member
i tried to find out what neck pickups he was using about a month ago...its a blade of some sort. figured it was a dimarzio cruiser or something like that.
MrDan666
Active member
Pretty sure that neck pickup was a Duncan Hot Rails!
Also the key to that tone is the fact that the body is solid maple. Ralph (gainfreak) is the one to ask about maple guitars!
Also the key to that tone is the fact that the body is solid maple. Ralph (gainfreak) is the one to ask about maple guitars!
XSSIVE
Well-known member
the neck and middle rails are ESP brand rails, not duncan. if you pause the video at just the right time during the close ups you can see the little ESP logo on the top and that they're shaped different that the duncan rails of that era. i think they're the same ESP SH-100 that's still used in his skull and snakes sig model. i've always wanted to try one in the neck but never saw one up for sale used and don't think you can get them anywhere aside from in that guitar or in another custom shop guitar order.
-Mike
-Mike
glpg80
Well-known member
XSSIVE":3lem42hg said:
yeah thanks for the info. i knew they werent SD hot rails and figured they had to be something different. wasnt really sure they were even dimarzios.
that would explain why you dont see very many of them.
do they offer the pickup on the kamakaze model? im guessing its only on the ESP series and none of the Ltds
id also love to try them. they sound amazing.
thiswaythatway
Well-known member
Taken from a Lynch interview. Seems he's using Alder guitars instead of maple these days.
Let’s talk about your guitars that are up in more normal registers. I saw Seth Lovers and all sorts of Duncans in your guitars. Do you just kind of pick the one that’s right for that guitar?
Absolutely, I sort of steer to the Seymour Duncan Screamin’ Demon pickup on heavier-weight guitars. I tend to use lighter guitars these days, in the 8.5 to 9 lb range; I like the way they resonate. I’m also kind of steering away from maple and going to alder. The alder with a maple top, maple neck with a maple cap, you get the brightness and the pop, but you still get the warmth.
We developed a Super V pickup for lighter guitars, which has a kind of a unique design in that each coil is wound differently with different materials and different gauged wire. It’s a very Seth Lover-ish kind of pickup with a little more output. It’s what a lot of people try to do – create something PAF-ish – but with a little more to it. But the Screamin’ Demon is pretty much my default pickup, although I do dabble in other Duncan pickups. I’ll even try some pickups from other manufacturers here and there just to know what’s out there. I usually try to get my hands on a lot of different things and see how they react in my guitars.
I think you really have to find the right pickup for the specific guitar. All pickups sound different depending on the weight of the guitar and the properties of that specific instrument. What I hate about pickups is trying to find that magic combination because it’s not easy. You sit around with a soldering gun all day taking strings off, putting pickups in and by the time you get a new pickup on there you’ve forgotten what the old one sounded like. So what I tend to do is record the guitar with the pickup that I have in it, take the strings off, change the pickup, put the strings back on and record that onto another track. I use all the same conditions and I do that a number of times, then I go back and listen.
Notes from a Super Fan
George Lynch is a living god. He is the man! He is the living embodiment of badassedness on guitar. With his trademark splayed fingers of his right hand and a slippery left, Lynch had his own inimitable style while everyone else was cloning Eddie Van Halen. There is only one George Lynch and, like all great iconic guitarists, you can always tell it’s him after hearing just a few licks.
I’ve been a George Lynch fan ever since “Paris Is Burning” came out, and I’ve seen him live a bunch of times – both back in the eighties and recently. Years ago, I saw him with Dokken in Chicago opening for Aerosmith. I had no interest in Aerosmith; I was on a mission to see the man with the cool ESP guitars, the wicked paint job and the big eighties hair. I was in the front row and he literally messed up my mind. He had heinous licks and spine-tingling vibrato. My friend Mickey and I looked at each other with our Jheri curls, jaws on the floor, and said, “Damn!” Then there was the notorious Dio-Dokken tour – George Lynch versus Vivian Campbell. It was ferocious – don’t get me started.
A completely different experience was at The Key Club in Hollywood, when two rappers got up on stage with the Lynch Mob. Nobody knew what to expect, and the audience was a little apprehensive until Lynch started playing these gargantuan riffs. It was awesome! Even now, he still brings the rawk. He’s buff, too – if they ever do a sequel to the movie 300 and they need a guitar player, the casting director should consider George Lynch.
One of my favorite things to do is go to a guitar store, plug into a nice rig and play the main riff to “Mr. Scary.” Even if kids don’t know what I’m playing, they can’t help but approach me and say, “Dude, that’s a cool riff!” I tell them, “This riff was created by George Lynch and he is a living god!”
- Oscar Jordan
Let’s talk about string gauge and things of that nature. You use 13s on the low B stuff and you kind of mix things up a little bit on your standard tuned guitars.
On most of my guitars I go with the lighter gauge as I get to the heavier strings. The low E is usually lighter than what you’d expect and the top is a litter bit heavier than what you’d expect. I like the gauge to be a little more evenly displaced rather than extreme. I don’t like light tops and heavy bottoms.
My signature Dean Markleys have a higher nickel content, a different core diameter, metal composition and they are wound to pitch, which means the machines wind at a slower speed. That tends to keep the intonation intact.
One of your newer signature projects is with ZOOM – how did the development of that go?
I’d been working with ZOOM, giving them my opinions on different pieces of digital gear, and that evolved to a point where they wanted to do my own pedal.
What a lot of guys do for signature stuff is take something that’s already made, twiddle a few knobs, save it as a preset, and there you go. I didn’t want to do that because there’s a limited amount of stuff you can do when you modify a pedal that way – you have to deal within the parameters of the pedal itself. I wanted to go into the studio with all kinds of gear, with an engineer for a matter of about a week and record different .wav files with different sounds.
For instance, we took a real Leslie and recorded that with an old Marshall, with a Les Paul, and created sounds from that. We’d go old cabinet, old speakers, old pedals, Lynch Boxes, old Super Reverbs, weird amps like WEM Dominators and old tweed Fenders with 12-string guitars, different Strats, Teles, Esquires, Les Pauls and ESPs. For one of the lead tones I use an original EP-1, a 1960s Tube Echoplex. Where are you going to find one of those – much less afford one? I used an old MXR Phase 90 Script Logo, which again, is very difficult to find and very expensive – that’s the old Eddie thing from “Eruption” and other solos. Then we burnt all these .wav files to a chip and they created the algorithms from there. These are all sounds designed from the bottom up specifically for this pedal.
It’s pretty cool that you didn’t just slap your name on top of a pedal and call it good.
That would be much more cost effective, but then do you build something that’s historically significant, meaningful and useful? I don’t think so. I was very happy with them when they decided to let me do it in what I thought was the right way. I use it for all kinds of things, from when I’ve got song ideas and I just want a quick plug-in, to inspiring rehearsing or just practicing.
I just did a thing for my kid at the school – they had a show-and-tell and they had about 60 or 70 kids in the elementary school music room. I plugged the ZOOM pedal into the Lynch Box combo and played “Eruption” for them. They were blown away – I had a better response from them than I usually have at my concerts! It was pretty exciting and a lot of fun.
What about cables? What do you use when you’re recording?
For whatever technical reasons it might be better to have a fatter speaker cable, but I find the opposite to be true for sound. It sounds better when you have a little more impedance or resistance for some reason. I use straight, heavier gauge amp cables and I think that makes an audible difference. As far as guitar leads, I’ve been working with Spectraflex.
With the Spectraflex stuff, I finally decided on a cable type that I really liked, which was the multi-conductor, extra heavy shielding and restrain. I’ve actually worked with them and designed a Lynch specific cable, the Mr. Scary cable. I worked with this jewelry designer that I work with, The Rim, and we came up with a unique end for it – basically a reworking of the Bones guitar. It’s a cast piece, so that’s the shroud around the cable end. And it not only looks cool, but it sounds fucking great, real heavy and substantial.
Confessions of a Metal Head
I have a confession to make. In my hearts of hearts, I am a metal head. There. I’ve said it. It’s not as if I have tried to hide that fact, it’s just something that is usually not discussed in polite company. Few things will cause a conversation to come to a grinding halt than if you are at a dinner party and the word “Motörhead” escapes your lips. It’s akin to confessing that you play “Dungeons and Dragons”; it may still done, just never talked about.
Back in the halcyon days of big hair acts, Dokken had one thing that separated them from any number of Hollywood Boulevard wannabes: George Lynch. He elevated an otherwise forgettable band. George could play with dizzying speed, but he also could call upon equal parts finesse and drama. He had a monster tone and licks to spare. Plus, he just made everything look so damn cool. George hunkered over his custom-made ESP guitars like a praying mantis ready to bite its helpless prey’s head off.
George didn’t play his guitar so much as he seemed to be ripping the notes out of a living being, an illusion that was made even more (sur)real during the middle of the “Dream Warriors” video when his guitar came to life. But “Mr. Scary” quickly became Lynch’s signature piece – arguably his answer to Eddie’s “Eruption.”
I saw Dokken as an opening act for Aerosmith at the Cow Palace and, while Don Dokken was just painful to watch, George Lynch was simply mesmerizing. By the time when Aerosmith hit the stage, Brad Whitford and Joe Perry seemed hopelessly out of touch.
- Adam Hunt
You’ve mentioned your upcoming instrumental record. Can you share some details on it?
Absolutely, it’s a three song EP called Hang ‘Em High. Two of the songs, one called “Kill Whitey” and the other one called “Hang ‘Em High,” are a little more reminiscent of old school rock, a more modernized version of UFO. But it’s also ripping, you know? It’s not new music, it’s more of a throwback and I think a lot of people will really identify with that.
There’s also sort of a much quieter song on there called “Maya,” which is kind of a beautiful song. It’s not a heavy song, but it’s just neat. I plugged it into my Brahma with an old ‘59 Esquire that a friend of mine loaned me. It’s sort of reminiscent of Jeff Beck’s style. The EP is going to be offered exclusively through the Mob Shop at GeorgeLynch.com.
And the Dojo online courses are still rocking and rolling?
Yeah, it’s a model that I think people really like because for a very small amount of money you get as close as you really can to having a sit-down lesson. All these lessons are archived where you can go back and look through hundreds of lessons that we’ve done in the past. Not only are the lessons done a lot of the time in my studio, but we do a lot of gear exploration. We’ll try this pedal, this amp, this guitar and show the pros and cons – a thing that I like to use and experiment with.
We show how we record and the importance of the little things; we also show how I think of a composition and how I create it. So I’ll sit there with my engineer and we’ll start out with a basic drum track that we create ourselves with software examples – which is how I write – and then I come up with a riff and say, “Ok, here’s your basic riff and here’s what that would evolve into. Here’s the prechorus, here’s the chorus. Ok, those are your three main parts, now you have a song, they all fit together nicely, and now we want to overdub that. We want to put a clean on top of it, or we may want to throw a solo on top of it, mix it down.” We get into all areas of the guitar-centric world. It’s not just lessons – it’s beyond that, with plenty of other things guitarists need to know.
So it’s about gear and the application of that gear. One thing I notice is you see the big picture with everything.
Yeah, I’m a complete gear nut. I don’t have the time or the resources to have everything and try everything, but I’m always looking on Craigslist and I’ve got my ear to the road, checking out new stuff. I’m a big fan of that kind of stuff, kind of in the Billy Gibbons way, where I’m always changing shit up, exploring and finding new things.
GEORGE’S GEAR BOX
All the above effects are loaded onto a custom-made pedalboard built by Dave Friedman of RackSystems and is powered by a BBE SupaCharger multiple pedal power supply and Furman power conditioner.
Gear box courtesy of George’s tech Gerry Ganaden gerry@ge@rgelynch.com
Amps:
Randall Lynch Box with Brahma, Mr.Scary and Grail modules
1968 Marshall Plexi 100-watt Super Lead unbelievably stock, un-modded
SLO-100 “Scientist” (clone, modeled after the very first SLO amp by Mike Soldano)
Speaker Cabinets:
Randall Lynch Box 4x12 loaded with four Eminence Lynch Super
V12 150 watt 8-ohm speakers
Early-seventies, basket weave-era Marshall 1960 A 4x12 (slant) cabinet loaded
with two Celestion 20-watt pre-Rola speakers and two Celestion 25-watt G12M
Heritage speakers at 16-ohms
1965 Hiwatt SE-4123 4x12 loaded with four 50-watt Simms-Watts/Fane speakers at 15 ohms
Guitars:
ESP Original M-1 Tiger with a single Seymour Duncan Super V prototype
pickup and Floyd Rose tremolo
ESP GL56 (distressed Strat-type body) with Seymour Duncan Alnico II Pro in the bridge
position and Roland GK-3 midi pickup
Fender 1959 Esquire with single Tele pickup petrified into the wood of the body.
Cables:
Spectraflex 1/4” Lynch signature series instrument cables with custom-made
circuit breaker plugs
Zaolla gold-tipped, frequency shielded 1/4” instrument and 16-gauge speaker cables
Strings:
Dean Markley Lynch Signature Series Super V strings gauged for Regular top and Light bottom (.010, .013, 0.17, .024, .032, .042)
Effects:
Zoom G2G George Lynch Signature multiple effects pedal
Morley Lynch Dragon 2 Wah pedal (prototype)
Cusack Screamer V2 with three position diode selector (set to LED diode clipping)
MXR Phase 90 (original, hand-wired vintage from 1974)
Boss CE-3 Chorus Ensemble
Vintage Mutron Octavider
T-Rex Replica delay
Original Fulltone DejaVibe (first edition handmade by Mike Fuller in 1994)
Morley Lynch Tripler 3–channel signal splitter
Late-seventies vintage Boss GE-10 10-band equalizer
FREE digital Subscription to Premier Guitar
» Click here to sign up! «
Comments (1 comment) display by newest first oldest first
Username Comment
Gudagastir
on 09/17/2008 I heard you took video of George playing atop the boulders when you rolled up? If so, any chance of it being posted here??? Was really hoping to see it! Still, awesome article, pics, and vids. Loved the blues jam! And the tracking vid at Integretron was insane!!! Oh, and can't finish without remarking on the pic of G getting cited for the noise complaint, LMAO! Good job PG, I've been waiting for this article
Your Comment: REQUIRED
All comments are subject to editing or deletion by the Premier Guitar staff.
Comments must be less than 5000 characters
Your Name: REQUIRED
Please enter the text you see in the image: REQUIRED
10
Gear Finder - Your gateway to the best gear for your relentless pursuit
» Amplifiers
» Effects/Accessories
» Guitars/Basses
» Other
» Retailers
- Enter Gear Finder
- Find a Gold PG Pick
- Enter for your chance to win
- CLICK HERE TO BEGIN
Articles and Stories
PopularExclusivesDiscussed. Punchy Legato
Gallery: Montreal Guitar Show, part 3
After the Fall: The State of the Vintage Guitar Market
5 Producers You Should Listen To
James Burton International Guitar Festival 2009
Sweep Picking 401 Eventide PitchFactor Review Gallery: Martin Owner's Club Event Playing Outside the Box: Banjo Tuning on Guitar James Burton International Guitar Festival 2009
Jeff Beck Receives First-Ever Montreal Guitar Show Tribute Award The Wizard of Waukesha Moves On: Les Paul - 1915-2009 Former PRS Designer Joe Knaggs to Launch Joseph S. Knaggs Guitars Interview: The Burst Brothers on Today's Market Cigar Box Nation: The Modern Cult of the Cigar Box Guitar
Videos
Most PopularMost Discussed. Rig Rundown - Dope's Virus
Added: 07/09/2009
08:23
Rig Rundown - Cycle of Pain's JD & Joe Taylor
Added: 07/09/2009
04:50
Rig Rundown - Sevendust's Clint Lowery
Added: 07/09/2009
07:54
Rig Rundown - Black Label Society's Nick Catanese
Added: 07/14/2009
06:58
Yanuziello Stringed Instruments - MGS '09
Added: 07/16/2009
04:48
Cole Clark - Jerry Douglas Lap Steel Jam
Added: 08/14/2009 10:13
Traynor Custom Special 50H & 100H -Summer NAMM '09
Added: 07/22/2009 03:50
Cole Clark Electrics,Lap Steels & More-Summer NAMM
Added: 07/28/2009 10:03
Video Review: Vox Night Train NT15H Head
Added: 07/22/2009 05:58
Jay Turser Guitars JTA-530 & JTA-560 - Summer NAMM
Added: 08/03/2009 02:28
Let’s talk about your guitars that are up in more normal registers. I saw Seth Lovers and all sorts of Duncans in your guitars. Do you just kind of pick the one that’s right for that guitar?
Absolutely, I sort of steer to the Seymour Duncan Screamin’ Demon pickup on heavier-weight guitars. I tend to use lighter guitars these days, in the 8.5 to 9 lb range; I like the way they resonate. I’m also kind of steering away from maple and going to alder. The alder with a maple top, maple neck with a maple cap, you get the brightness and the pop, but you still get the warmth.
We developed a Super V pickup for lighter guitars, which has a kind of a unique design in that each coil is wound differently with different materials and different gauged wire. It’s a very Seth Lover-ish kind of pickup with a little more output. It’s what a lot of people try to do – create something PAF-ish – but with a little more to it. But the Screamin’ Demon is pretty much my default pickup, although I do dabble in other Duncan pickups. I’ll even try some pickups from other manufacturers here and there just to know what’s out there. I usually try to get my hands on a lot of different things and see how they react in my guitars.
I think you really have to find the right pickup for the specific guitar. All pickups sound different depending on the weight of the guitar and the properties of that specific instrument. What I hate about pickups is trying to find that magic combination because it’s not easy. You sit around with a soldering gun all day taking strings off, putting pickups in and by the time you get a new pickup on there you’ve forgotten what the old one sounded like. So what I tend to do is record the guitar with the pickup that I have in it, take the strings off, change the pickup, put the strings back on and record that onto another track. I use all the same conditions and I do that a number of times, then I go back and listen.
Notes from a Super Fan
George Lynch is a living god. He is the man! He is the living embodiment of badassedness on guitar. With his trademark splayed fingers of his right hand and a slippery left, Lynch had his own inimitable style while everyone else was cloning Eddie Van Halen. There is only one George Lynch and, like all great iconic guitarists, you can always tell it’s him after hearing just a few licks.
I’ve been a George Lynch fan ever since “Paris Is Burning” came out, and I’ve seen him live a bunch of times – both back in the eighties and recently. Years ago, I saw him with Dokken in Chicago opening for Aerosmith. I had no interest in Aerosmith; I was on a mission to see the man with the cool ESP guitars, the wicked paint job and the big eighties hair. I was in the front row and he literally messed up my mind. He had heinous licks and spine-tingling vibrato. My friend Mickey and I looked at each other with our Jheri curls, jaws on the floor, and said, “Damn!” Then there was the notorious Dio-Dokken tour – George Lynch versus Vivian Campbell. It was ferocious – don’t get me started.
A completely different experience was at The Key Club in Hollywood, when two rappers got up on stage with the Lynch Mob. Nobody knew what to expect, and the audience was a little apprehensive until Lynch started playing these gargantuan riffs. It was awesome! Even now, he still brings the rawk. He’s buff, too – if they ever do a sequel to the movie 300 and they need a guitar player, the casting director should consider George Lynch.
One of my favorite things to do is go to a guitar store, plug into a nice rig and play the main riff to “Mr. Scary.” Even if kids don’t know what I’m playing, they can’t help but approach me and say, “Dude, that’s a cool riff!” I tell them, “This riff was created by George Lynch and he is a living god!”
- Oscar Jordan
Let’s talk about string gauge and things of that nature. You use 13s on the low B stuff and you kind of mix things up a little bit on your standard tuned guitars.
On most of my guitars I go with the lighter gauge as I get to the heavier strings. The low E is usually lighter than what you’d expect and the top is a litter bit heavier than what you’d expect. I like the gauge to be a little more evenly displaced rather than extreme. I don’t like light tops and heavy bottoms.
My signature Dean Markleys have a higher nickel content, a different core diameter, metal composition and they are wound to pitch, which means the machines wind at a slower speed. That tends to keep the intonation intact.
One of your newer signature projects is with ZOOM – how did the development of that go?
I’d been working with ZOOM, giving them my opinions on different pieces of digital gear, and that evolved to a point where they wanted to do my own pedal.
What a lot of guys do for signature stuff is take something that’s already made, twiddle a few knobs, save it as a preset, and there you go. I didn’t want to do that because there’s a limited amount of stuff you can do when you modify a pedal that way – you have to deal within the parameters of the pedal itself. I wanted to go into the studio with all kinds of gear, with an engineer for a matter of about a week and record different .wav files with different sounds.
For instance, we took a real Leslie and recorded that with an old Marshall, with a Les Paul, and created sounds from that. We’d go old cabinet, old speakers, old pedals, Lynch Boxes, old Super Reverbs, weird amps like WEM Dominators and old tweed Fenders with 12-string guitars, different Strats, Teles, Esquires, Les Pauls and ESPs. For one of the lead tones I use an original EP-1, a 1960s Tube Echoplex. Where are you going to find one of those – much less afford one? I used an old MXR Phase 90 Script Logo, which again, is very difficult to find and very expensive – that’s the old Eddie thing from “Eruption” and other solos. Then we burnt all these .wav files to a chip and they created the algorithms from there. These are all sounds designed from the bottom up specifically for this pedal.
It’s pretty cool that you didn’t just slap your name on top of a pedal and call it good.
That would be much more cost effective, but then do you build something that’s historically significant, meaningful and useful? I don’t think so. I was very happy with them when they decided to let me do it in what I thought was the right way. I use it for all kinds of things, from when I’ve got song ideas and I just want a quick plug-in, to inspiring rehearsing or just practicing.
I just did a thing for my kid at the school – they had a show-and-tell and they had about 60 or 70 kids in the elementary school music room. I plugged the ZOOM pedal into the Lynch Box combo and played “Eruption” for them. They were blown away – I had a better response from them than I usually have at my concerts! It was pretty exciting and a lot of fun.
What about cables? What do you use when you’re recording?
For whatever technical reasons it might be better to have a fatter speaker cable, but I find the opposite to be true for sound. It sounds better when you have a little more impedance or resistance for some reason. I use straight, heavier gauge amp cables and I think that makes an audible difference. As far as guitar leads, I’ve been working with Spectraflex.
With the Spectraflex stuff, I finally decided on a cable type that I really liked, which was the multi-conductor, extra heavy shielding and restrain. I’ve actually worked with them and designed a Lynch specific cable, the Mr. Scary cable. I worked with this jewelry designer that I work with, The Rim, and we came up with a unique end for it – basically a reworking of the Bones guitar. It’s a cast piece, so that’s the shroud around the cable end. And it not only looks cool, but it sounds fucking great, real heavy and substantial.
Confessions of a Metal Head
I have a confession to make. In my hearts of hearts, I am a metal head. There. I’ve said it. It’s not as if I have tried to hide that fact, it’s just something that is usually not discussed in polite company. Few things will cause a conversation to come to a grinding halt than if you are at a dinner party and the word “Motörhead” escapes your lips. It’s akin to confessing that you play “Dungeons and Dragons”; it may still done, just never talked about.
Back in the halcyon days of big hair acts, Dokken had one thing that separated them from any number of Hollywood Boulevard wannabes: George Lynch. He elevated an otherwise forgettable band. George could play with dizzying speed, but he also could call upon equal parts finesse and drama. He had a monster tone and licks to spare. Plus, he just made everything look so damn cool. George hunkered over his custom-made ESP guitars like a praying mantis ready to bite its helpless prey’s head off.
George didn’t play his guitar so much as he seemed to be ripping the notes out of a living being, an illusion that was made even more (sur)real during the middle of the “Dream Warriors” video when his guitar came to life. But “Mr. Scary” quickly became Lynch’s signature piece – arguably his answer to Eddie’s “Eruption.”
I saw Dokken as an opening act for Aerosmith at the Cow Palace and, while Don Dokken was just painful to watch, George Lynch was simply mesmerizing. By the time when Aerosmith hit the stage, Brad Whitford and Joe Perry seemed hopelessly out of touch.
- Adam Hunt
You’ve mentioned your upcoming instrumental record. Can you share some details on it?
Absolutely, it’s a three song EP called Hang ‘Em High. Two of the songs, one called “Kill Whitey” and the other one called “Hang ‘Em High,” are a little more reminiscent of old school rock, a more modernized version of UFO. But it’s also ripping, you know? It’s not new music, it’s more of a throwback and I think a lot of people will really identify with that.
There’s also sort of a much quieter song on there called “Maya,” which is kind of a beautiful song. It’s not a heavy song, but it’s just neat. I plugged it into my Brahma with an old ‘59 Esquire that a friend of mine loaned me. It’s sort of reminiscent of Jeff Beck’s style. The EP is going to be offered exclusively through the Mob Shop at GeorgeLynch.com.
And the Dojo online courses are still rocking and rolling?
Yeah, it’s a model that I think people really like because for a very small amount of money you get as close as you really can to having a sit-down lesson. All these lessons are archived where you can go back and look through hundreds of lessons that we’ve done in the past. Not only are the lessons done a lot of the time in my studio, but we do a lot of gear exploration. We’ll try this pedal, this amp, this guitar and show the pros and cons – a thing that I like to use and experiment with.
We show how we record and the importance of the little things; we also show how I think of a composition and how I create it. So I’ll sit there with my engineer and we’ll start out with a basic drum track that we create ourselves with software examples – which is how I write – and then I come up with a riff and say, “Ok, here’s your basic riff and here’s what that would evolve into. Here’s the prechorus, here’s the chorus. Ok, those are your three main parts, now you have a song, they all fit together nicely, and now we want to overdub that. We want to put a clean on top of it, or we may want to throw a solo on top of it, mix it down.” We get into all areas of the guitar-centric world. It’s not just lessons – it’s beyond that, with plenty of other things guitarists need to know.
So it’s about gear and the application of that gear. One thing I notice is you see the big picture with everything.
Yeah, I’m a complete gear nut. I don’t have the time or the resources to have everything and try everything, but I’m always looking on Craigslist and I’ve got my ear to the road, checking out new stuff. I’m a big fan of that kind of stuff, kind of in the Billy Gibbons way, where I’m always changing shit up, exploring and finding new things.
GEORGE’S GEAR BOX
All the above effects are loaded onto a custom-made pedalboard built by Dave Friedman of RackSystems and is powered by a BBE SupaCharger multiple pedal power supply and Furman power conditioner.
Gear box courtesy of George’s tech Gerry Ganaden gerry@ge@rgelynch.com
Amps:
Randall Lynch Box with Brahma, Mr.Scary and Grail modules
1968 Marshall Plexi 100-watt Super Lead unbelievably stock, un-modded
SLO-100 “Scientist” (clone, modeled after the very first SLO amp by Mike Soldano)
Speaker Cabinets:
Randall Lynch Box 4x12 loaded with four Eminence Lynch Super
V12 150 watt 8-ohm speakers
Early-seventies, basket weave-era Marshall 1960 A 4x12 (slant) cabinet loaded
with two Celestion 20-watt pre-Rola speakers and two Celestion 25-watt G12M
Heritage speakers at 16-ohms
1965 Hiwatt SE-4123 4x12 loaded with four 50-watt Simms-Watts/Fane speakers at 15 ohms
Guitars:
ESP Original M-1 Tiger with a single Seymour Duncan Super V prototype
pickup and Floyd Rose tremolo
ESP GL56 (distressed Strat-type body) with Seymour Duncan Alnico II Pro in the bridge
position and Roland GK-3 midi pickup
Fender 1959 Esquire with single Tele pickup petrified into the wood of the body.
Cables:
Spectraflex 1/4” Lynch signature series instrument cables with custom-made
circuit breaker plugs
Zaolla gold-tipped, frequency shielded 1/4” instrument and 16-gauge speaker cables
Strings:
Dean Markley Lynch Signature Series Super V strings gauged for Regular top and Light bottom (.010, .013, 0.17, .024, .032, .042)
Effects:
Zoom G2G George Lynch Signature multiple effects pedal
Morley Lynch Dragon 2 Wah pedal (prototype)
Cusack Screamer V2 with three position diode selector (set to LED diode clipping)
MXR Phase 90 (original, hand-wired vintage from 1974)
Boss CE-3 Chorus Ensemble
Vintage Mutron Octavider
T-Rex Replica delay
Original Fulltone DejaVibe (first edition handmade by Mike Fuller in 1994)
Morley Lynch Tripler 3–channel signal splitter
Late-seventies vintage Boss GE-10 10-band equalizer
FREE digital Subscription to Premier Guitar
» Click here to sign up! «
Comments (1 comment) display by newest first oldest first
Username Comment
Gudagastir
on 09/17/2008 I heard you took video of George playing atop the boulders when you rolled up? If so, any chance of it being posted here??? Was really hoping to see it! Still, awesome article, pics, and vids. Loved the blues jam! And the tracking vid at Integretron was insane!!! Oh, and can't finish without remarking on the pic of G getting cited for the noise complaint, LMAO! Good job PG, I've been waiting for this article
Your Comment: REQUIRED
All comments are subject to editing or deletion by the Premier Guitar staff.
Comments must be less than 5000 characters
Your Name: REQUIRED
Please enter the text you see in the image: REQUIRED
10
Gear Finder - Your gateway to the best gear for your relentless pursuit
» Amplifiers
» Effects/Accessories
» Guitars/Basses
» Other
» Retailers
- Enter Gear Finder
- Find a Gold PG Pick
- Enter for your chance to win
- CLICK HERE TO BEGIN
Articles and Stories
PopularExclusivesDiscussed. Punchy Legato
Gallery: Montreal Guitar Show, part 3
After the Fall: The State of the Vintage Guitar Market
5 Producers You Should Listen To
James Burton International Guitar Festival 2009
Sweep Picking 401 Eventide PitchFactor Review Gallery: Martin Owner's Club Event Playing Outside the Box: Banjo Tuning on Guitar James Burton International Guitar Festival 2009
Jeff Beck Receives First-Ever Montreal Guitar Show Tribute Award The Wizard of Waukesha Moves On: Les Paul - 1915-2009 Former PRS Designer Joe Knaggs to Launch Joseph S. Knaggs Guitars Interview: The Burst Brothers on Today's Market Cigar Box Nation: The Modern Cult of the Cigar Box Guitar
Videos
Most PopularMost Discussed. Rig Rundown - Dope's Virus
Added: 07/09/2009
08:23
Rig Rundown - Cycle of Pain's JD & Joe Taylor
Added: 07/09/2009
04:50
Rig Rundown - Sevendust's Clint Lowery
Added: 07/09/2009
07:54
Rig Rundown - Black Label Society's Nick Catanese
Added: 07/14/2009
06:58
Yanuziello Stringed Instruments - MGS '09
Added: 07/16/2009
04:48
Cole Clark - Jerry Douglas Lap Steel Jam
Added: 08/14/2009 10:13
Traynor Custom Special 50H & 100H -Summer NAMM '09
Added: 07/22/2009 03:50
Cole Clark Electrics,Lap Steels & More-Summer NAMM
Added: 07/28/2009 10:03
Video Review: Vox Night Train NT15H Head
Added: 07/22/2009 05:58
Jay Turser Guitars JTA-530 & JTA-560 - Summer NAMM
Added: 08/03/2009 02:28
Digital Jams
New member
MrDan666":5d3u1j87 said:Pretty sure that neck pickup was a Duncan Hot Rails!
Also the key to that tone is the fact that the body is solid maple. Ralph (gainfreak) is the one to ask about maple guitars!
After speaking to Ralph I had this built by Lee, one of the last stratheads
Two piece maple body.
MrDan666
Active member
Digital Jams":3in5dxex said:After speaking to Ralph I had this built by Lee, one of the last stratheads
Two piece maple body.
SICK!!!