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Saw George Lynch in SO CAL...I'll be pushing my guitar back under the bed now

Robman2

By Robman2
in Guitar Forum

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Robman2

Robman2

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He just got me and my three staff folks, onto his guest list for his gig tonight...

 

He's a nice guy and recently got a hold of me ....and has been changing his rig, over to all wires (my brand).

 

Now if I could just get him, Pete Anderson, Doyle Dykes and Johnny Hiland all in the NAMM booth for a picture...

 

Not likely, that would be like herding cats as they say...

 

Oh, and he isn't getting "free" cables BTW.

 

If you think the four of us here, telling our SO's how we are going to be out sans gals tonight, just before Christmas...was easy...well, we just explained how loud it was going to be...

 

Merry Christmas and Happy Hanuaka

Label on the reverb, inside 1973 Ampeg G-212: "Folded Line Reverberation Unit" Manufactured by beautiful girls in Milton WIS. under controlled atmosphere conditions.
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Robman2

Robman2

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Happy H...Mr. Neil and family.

 

Blessings abound at every breath...

Label on the reverb, inside 1973 Ampeg G-212: "Folded Line Reverberation Unit" Manufactured by beautiful girls in Milton WIS. under controlled atmosphere conditions.
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Gifthorse

Gifthorse

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Cool, George Lynch was one of my heros when I was like 15- 17. I even tried to make my hair look like his!! HAHA. I tried to meet him once on the Monsters of Rock tour in 88' but I ended up just meeting Don Dokken. I was really disapointed with his tone live when I saw him because he had too much distortion. It sounded overly compressed, I couldn't make out what he did. I really liked his tone in Dokken at the time though on thier recordings and thought he had cool feel and tone/note choice.

 

I don't listen to that style at all anymore, except for old VH. I would still love to exchange some licks with George and let him know that at one time I even had my haircut like him. AHAH

 

I heard he helped develop the Peavey Penta. I would really love to try one of those amps out. Does he use them?

http://flagshipmile.dmusic.com/

http://www.myspace.com/gifthorse

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Tone Taster

Tone Taster

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Originally posted by flagshipmile:

. I was really disapointed with his tone live when I saw him because he had too much distortion. It sounded overly compressed, I couldn't make out what he did. I really liked his tone in Dokken at the time though on thier recordings

This could be totally false info, but . . .

 

I heard that on the recordings he borrowed various people's modded plexi's and no matter how much bread he offered, they weren't giving them up.

 

If that is actually true, he probably wasn't able to take those on the road

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Gifthorse

Gifthorse

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Yeah I read that too, but a stock jcm 800 sounds great. I dunno the secret, he just didn't have a good mix when I saw him. It is all about the soundman at that point maybe. Or maybe he had too much gain, I dunno. I do know he was a heavy metal god in the 80's. I really liked Warren D'Martini's style too. A little less distorted. Both of them rocked really. I always wanted a Lynch solo album. I remember buying Tony Macalpine's album just to hear Lynch's solos. He was a cool alternative player to all the shredders of the 80's who didn't have any shredder sense.

 

I wouldn't even call him a shredder, but he definately has his own style which is what counts. I wish he would have moved in a more King's X direction after Dokken tho.

http://flagshipmile.dmusic.com/

http://www.myspace.com/gifthorse

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fantasticsound

fantasticsound

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George's sound was never an over-distorted tone, though he had a fantastic, smooth crunch sound. :thu:

 

I can only assume one of two things about the live sound you encountered.

 

  1. He wasn't positioned with his ears directly in the line of fire of his speakers' "beam". (Typical guitar player situation where the high end is hyped to compensate for most of the high end beaming at their feet.
  2. His hearing is going and he overhyped the highs to compensate.

 

Other than that, it could simply have been the acoustics of the room. But it's difficult for a soundman to tame over the top high end (which shouldn't be there in the first place) to come up with a good, through the PA, timbre.

 

I've put several players' heads down in front of their amps to illustrate what they were providing my mics. Some were amazed. (They hadn't thought about the difference in perspective of their ears vs. mic position.) Others laughed. Typical conversation between me and one of the latter musicians..

 

(gp) "Yeah.. I knew that."

(me) "You know you're beating the hell out of those people down front, right?

(gp) "So?"

(me) :mad:

 

I always loved George's recorded tones so much I'm sure I'd be disappointed by anything less, even in a live situation. That may be one reason I didn't like the Lynch mob stuff. :confused:

It's easiest to find me on Facebook. Neil Bergman

 

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Dr. Ellwood

Dr. Ellwood

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To Neil's comment on over pumped high freqs. since I have been on the forum I have learned that it is very important to be aware of how the amp is orienced with respect to the audience directly in front of the stage. With the combo's I use the kick back legs or the raised amp stand, with the 4X12 bottom I try to aim it a bit off axis, I can still hear myself fine and the PA amp mic doesn't care where it is placed. The amp mix comming back through the instrument monitor can be eq'd to let me hear high frequencies but the audience doesn't have to suffer.
http://www.thestringnetwork.com
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Robman2

Robman2

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The four of us went down and the only table I could find was stage left off axis, just ahead of the line array.

 

Later we found out they had a VIP table vacent for us straight front but I chose this spot because George plays stage left.

 

Frank our webmaster and graphics person, has the Nikon SLR digital and was able to get a few very classic rock star type shots.

 

I walked the back of the room a couple of times and the sound was decent, versus the last time I was there to see Schenker.

 

GL is a brilliant guitarist, IMHO and seems to play with heart which is subjective, but it shows.

 

Great set, lots of tasty fireing line riffs...

 

Afterwards, we went up to the green room and he's as humble and self effacing as they come.

 

He was remarking about how he felt it wasn't "on" for him...and that what passes with some exhuberance and flash as good etc...

 

I said, that's easy to do George, we all are overly self critical and as far as we were concerned (the four of us are no slouches on guitar) we feel like pushing our guitars under the bed after seeing you or Doyle or Johnny Hiland rip through it the way you did tonight.

 

He introduced us to his lovely wife and daughter, and said he needs to buy a couple more Zaolla speaker cables to fill out the rest of his rig.

 

I can't speak to his tone as much as Neil perhaps but it was a brilliant set as far as I could tell.

 

His pedal board changes...a lot and he had the new Randall heads, with a skull logo which he has been collaborating on for them.

 

As I recall, these are top drawer build with exotic transformers, tubes and switches etc, names which escape me and the boutique nature of the design will compare at retail to the Badcat, Boogie etc high end offerings.

 

He switched guitars several times but when I was at his house a couple months ago, he told me his favorite is a well worn Broadcaster, although he's being seen and is on a retainer with his usual ESP's.

 

I played the Fender a bit and it's simply one of those guitars with an exquisite balance and feel...He did use it on a couple of somgs.

 

His tech, Gerry works at Sam Ash in Fountain Valley, and has quit and been re-hired there several times, to go out on tour.

 

Gerry at this show, was standing behind the rack of guitars, playing rythem and adding harmony vocals...

 

It was a great evening, the only down side was when Mr. L, took off his T-shirt for the last song, and put we over 30, over 40 over 50 somethings to shame from a physique perspective...

 

The guy must live at the gym...

 

He's 52 years old...looks buffed like and 18 year old...plus he still has a full head of hair...

Label on the reverb, inside 1973 Ampeg G-212: "Folded Line Reverberation Unit" Manufactured by beautiful girls in Milton WIS. under controlled atmosphere conditions.
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Gifthorse

Gifthorse

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Robman, did George mention whether he worked on the Peavey Penta, and if so did he say what he thought of it?

 

Fantasticsound, I agree it may have been too many highs but I remember thinking the same thing when I heard Dokken's live CD Beast from the East. I agree about his studio tones with Dokken, always cutting edge rock. I was a bigtime worshipper of Lynch while he was in Dokken (I was like 16-18) but then I got into other stuff. I thought in Lynchmob he wasn't loud enough and his tone sounded more compressed.

 

The solo in 'into the fire' helped me understand shredding. That one lick is like the last 6 notes of each mode up the neck or something. Good lick to work on scales with. It helps you see that patteren all over the neck.

http://flagshipmile.dmusic.com/

http://www.myspace.com/gifthorse

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fantasticsound

fantasticsound

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I loved the solos for In My Dreams and Alone Again. Very understated, for the most part. And for a guy who was very controlled when tapping, that technique in In My Dreams seems like an appropriate break from the slow, melodic beginning, and blends right into the descending run that ends in a few slow notes.

It's easiest to find me on Facebook. Neil Bergman

 

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Gifthorse

Gifthorse

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I think my fav solo by Lynch was 'Till the Livin End' or 'Just got Lucky'. Kiss of Death had some nice licks too.

 

His tone with Dokken was awesome for that style of music. Mathias Jabs is another badass from that era that really gets overlooked. People always pay attention to Lynch or D'martini from that style, Mathias gets lost in the shuffle.

 

I thought Mathias Jabs always sounded just like the album live, I mean his tone. He had his own style too. I remember being really impressed with his solos on the last album I recall from 88', but he wasn't loud enough.

http://flagshipmile.dmusic.com/

http://www.myspace.com/gifthorse

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Robman2

Robman2

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When I see him or speak with him next, I'll try and remember to ask about the Peavy.

 

I expect we'll be discussing some stuff prior to the NAMM show.

 

R

Label on the reverb, inside 1973 Ampeg G-212: "Folded Line Reverberation Unit" Manufactured by beautiful girls in Milton WIS. under controlled atmosphere conditions.
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Tone Taster

Tone Taster

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Robman

 

Was he playing through the Peavey Live?

 

 

What is his picking technique like?

 

more Wrist/more fingers, How he holds the pick, anchor/no anchor, etc . . .

 

If anchor, is it a wrist/palm anchor or finger anchor?

 

Does he hold the pick on the side of index or between 2 fingers + thumb?

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