Under Lock and Key

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Mr. Willy

Mr. Willy

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I picked up Dokken's Greatest Hits recently. Haven't listened to them in a long time.

I forgot how killer Lynch's tone was back in the day, especially his rhythm tone.

I think my favorite was from the Lock and Key album. It's so thick and smooth . I remember reading that that disk had a lot of Rockman on it. Is this true?

Also remember reading that Tooth and Nail was solid-state Randall.

I know there is a lot of talk about Georgy around these parts, so sorry if this has been beaten to death.

Second favorite tone was from Back for the Attack. I can definitely tell that's a Marshall. Maybe Super Lead? Raw, crunchy, dry... :rock:
 
I have some magazines from the 80's - early 90's and George said he mixed in a Rockman for Under Lock & Key. Every single solo on that album just RIPS.
 
danyeo":2qdzbwrt said:
I have some magazines from the 80's - early 90's and George said he mixed in a Rockman for Under Lock & Key. Every single solo on that album just RIPS.
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I was listening to those tracks today and I recalled some article from a long time ago about the Rockmans. Funny, it's been so long I couldn't remember if I'd actually read it, or if I'd heard of it on a forum.

I know the Rockman is all over Hysteria, I thought George's tone sounded similar.

Funny, even after all the modeling crap out now, the Rockman was doing a dang good job back in the 80's.
 
if you check the Micheal Wagner thread you can get the scoop straight from the man who did all the recording of it
 
I thought on his site, he said that the Rockman was mainly mixed in live at FOH on that tour. If you read the Michael Wagener thread, he says something about Gerorge using a Fostex 4 track to boost his signal..? Page 2


About the Lynch guitar tone on Under Lock And Key. There are tons of rumors on how that tone was made, most of them started by people that want to sell amps to guitar players. What we did: we had two Marshalls and two Laneys (again not sure which models). One Marshall and one Laney had speakers in the big room at Amigo. The Laney took care of the low end and the Marshal took care of the higher sounds. I split them up so not one amp had the whole load of the full guitar spectrum, I still do that to the day. The other Laney was in a totally dead room and was fed by a Boss chorus pedal, and just slightly mixed in with the other two amps. The second Marshal (I think it was a 50W Plexi) was send to a cabinet in a small tiled bathroom. Everything was miced with 16 microphones all over the rooms. I then summed it all into one output on the console and send it to a Fostex 4-track cassette recorder and from there into the digital machine. George had mentioned that he always gets a great sound with his Fostex 4-track, so I told him to bring it in. We had it under the console covered with a packing blanket so nobody could see it and it was cranked to 11. That is most of the rhythm tone on ULK.
 
My Fav Lynch tone!!! The Hunter solo one of GL's best!! Video rocks :rock:
 
Wayniac3":1mot019k said:
I thought on his site, he said that the Rockman was mainly mixed in live at FOH on that tour. If you read the Michael Wagener thread, he says something about Gerorge using a Fostex 4 track to boost his signal..? Page 2


About the Lynch guitar tone on Under Lock And Key. There are tons of rumors on how that tone was made, most of them started by people that want to sell amps to guitar players. What we did: we had two Marshalls and two Laneys (again not sure which models). One Marshall and one Laney had speakers in the big room at Amigo. The Laney took care of the low end and the Marshal took care of the higher sounds. I split them up so not one amp had the whole load of the full guitar spectrum, I still do that to the day. The other Laney was in a totally dead room and was fed by a Boss chorus pedal, and just slightly mixed in with the other two amps. The second Marshal (I think it was a 50W Plexi) was send to a cabinet in a small tiled bathroom. Everything was miced with 16 microphones all over the rooms. I then summed it all into one output on the console and send it to a Fostex 4-track cassette recorder and from there into the digital machine. George had mentioned that he always gets a great sound with his Fostex 4-track, so I told him to bring it in. We had it under the console covered with a packing blanket so nobody could see it and it was cranked to 11. That is most of the rhythm tone on ULK.
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hahaha....if that is true...that is awesome!
 
yeah. It's been said a few posts above...but every single solo on that album is perfect. Great mix of restraint and aggression. I was really psyched when Back for the Attack came out, but to me it was a let down because George started to lose focus and begin the spontaneous wanking stuff with the sustainer.
 
How does the Fostex work to boost signal? It is taking the output of the amp and "fostex-boosting" prior to heading to the soundboard? I guess this is like using VST EQ plugin in a recording program to boost the dry signal of a plexi...always makes mine sound crunchier. Interesting..
 
Unmistakable Rockman Dirt1 setting with chorus blended on that album. If you owned one, you'll never forget the sound.....
 
http://www.slashsworld.com/equipment/am ... amp-story/

As legend has it, George used the SIR Tim Caswell modded Super Trem hotrodded with a Rockman for ULAK reheasals, George used Lee Jackson Marshalls for ULAK sessions, he was able to borrow the Caswell amp for touring & later had Caswell mod some of his own amps.

At that time i was hotrodding a Marshall JMP with a Rockman as well, but had no idea George was doing the same.
 
memberzonly":1zmxt9m4 said:
Unmistakable Rockman Dirt1 setting with chorus blended on that album. If you owned one, you'll never forget the sound.....
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No doubt thats a Rockman.
 
The thing about the Rockman i didn't like was there was no way to adjust the speed or depth of the chorus, it was a bit too wet for me.
 
charveldan":irobegtu said:
The thing about the Rockman i didn't like was there was no way to adjust the speed or depth of the chorus, it was a bit too wet for me.
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Yeah I agree with that. It was a pretty cool unit. Using it without the chorus and other fx instead would get some interesting tones. ....and get away from the signature "Boston" sound. :)

Some of the 1/2 rack units were cool too. The delay and eq units I got alot of use from.
 
ULAK is in my top 3 albums for hot-rodded Marshall tone (VHII and Ratt's Invasion of Your Privacy being the other two).

As for the Rockman stuff it was pretty cool at the time. I still have the Sustainor and Delay/Chorus modules.
 
Kapo_Polenton":2l60v5wt said:
How does the Fostex work to boost signal? It is taking the output of the amp and "fostex-boosting" prior to heading to the soundboard? I guess this is like using VST EQ plugin in a recording program to boost the dry signal of a plexi...always makes mine sound crunchier. Interesting..
Click to expand...

It sounds like it just colors the sub mix is all. It's got nothing to do with guitar tone or boosting the amp at all. George probably used it to record in his home or on tour and liked the recorded sound he got so he brought it to the studio. This is how rumors get started isn't it?
 
Guys,

We have the privilege of Having Michael Wagener on this site. Why not ask him if a Rockman was used anywhere with that recording?

He has already doped out how the rhythms were recorded and did not mention a Rockman at all. Maybe someone should ask him.

FWIW, I would think Running a Fostex cranked on 11 on a guitar track would most definitely color the sound, so maybe that's whta we are hearing, but it can't hurt to ask Michael.
 
I remember walking into a music store in Akron a long, long time ago and the sales guy put the Rockman headphones over my ears and played the intro to "she's so heavy" by the Beatles. It was instant MUST HAVE. Bought one, but they were definitely one-trick ponies. Kinda wish I still had it though. Sometimes wonder where some of my equipment went.
 
I was in high school when "Under Lock and Key" came out and my friends and I played the album to death. I remember when George Lynch won solo of the year in Guitar World for "In My Dreams".
 
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