George Lynch Isolated Guitar Tracks on YouTube

guitarfishbay

Found a channel where someone has a bunch of isolated tracks.

Some solos





The Hunter is probably my favourite Dokken track - pretty cool to hear how the guitars get layered in this.

thomasross20

That's cool! Always loved "dream warriors"

guitarfishbay

Same here.  I really liked Lynch's phrasing on a load of these old Dokken tracks.

thomasross20

Isn't he really shy about his playing?

guitarfishbay

No idea, I haven't heard that before.

thomasross20

@DLM will know..

DLM

@thomasross20

He has been in the past, yes. Insecure, I'd have said. He is certainly very inconsistent. I've seen stuff of his that was truly horrid. Off-night-and-a-half material. I quite like him with KXM, probably because I love dUg and Luzier.

guitarfishbay

Yeah dUg is awesome.  Great voice and great bass tone.

Bidley

I haven't listened to Dokken in ages. Lynch is awesome on his day.

musteatbrain

That's a bloody good 80s searing rock tone right there

guitarfishbay

musteatbrain said:

That's a bloody good 80s searing rock tone right there

Yeah it's great.  He used a Duncan Distortion for the pickup from what I know.

Additional recording geek info here post #4 - https://www.gearslutz.com/board/high-end/77436-george-lynch-tone.html

"Obviously George's tone is coming from the way he plays, out of his hands, but since you asked:

The setup for George's guitar tone on "Under Lock And Key" was as follows:
We had two Marshall heads and two Laney heads, not sure which models, but one of them was a Plexi. We had cabs in three different rooms: two cabs were placed in the big room at Amigo, one connected to a Marshall, the other connected to the Laney. The Marshall was responsible for the high end part of the sound and the Laney was set to take care of the low end. There were 14 (fourteen) mics set up in that room in various psoitions around the cabinet and some further away to get some room tone. The second Laney was sent into a very dead room and had a Boss chorus pedal in front of it, set to very slight chorus. The second Marshall was sent into a small, tiled bathroom, to add a different room tone. Those 16 mics came in on the Mci 500console mic pres. They were bussed to one bus and that bus had a Urei 530 EQ on it (best guitar EQ ever). George mentioned that he always gets a great tone with his Fostex 4track recorder when it's in total overdrive, so I asked him to bring it in. So after the 530 everything was sent to the Fostex 4track, which lived under a packing blanket under the console, so nobody would see it. The Fostex was on stunn, completely overdriven and was sent on to the 3M 32 track dig machine from there. 

No, I am NOT kidding!!!"

Bidley

That is bonkers! But the results speak for themselves.

His vibrato is a massive part of his tone though.

hubobulous

Back for the Attack has to rank as one of my fave ever albums. No player sounds like him and I still have very little idea what the hell hers doing in most of his solos. Such an amazing, unique style

peteri

I remember seeing Dokken supporting AC/DC at Wembley Arena - I'm guessing 86/87, maybe 88. Not sure what the sound engineer was on that night - but was completely disappointed, probably the worse guitar sound I've ever heard - imagine two tubescreamers into each other and then with a massive low cut, just no bottom end/tone at all.

Shame, he looked into it - but everyone else was less so.

Hell of a player though - and worth checking out the recent post on here on the Hear 'n' Aid recording, really 'interesting' way he had of holding the pick (and a very questionable crop top!)

Gizmo

Bidley said:

That is bonkers! But the results speak for themselves.

His vibrato is a massive part of his tone though.

I saw an interview with lynch & chris brodrick and lynch say's about his vibrato (something like) "this Japanese guy was interviewing me for a guitar mag and he said George can you show us your Jerk off...and i was like excuse me!"