Have to be honest here... George's tone throughout the years, with perhaps exception to Under Lock And Key was always kinda odd sounding.
His playing, however, is killer.
He used Randall SS amps on the first album
ULAK was supposedly a mish mash of amps including a Laney with umpteen mics
Rumor has it according to Mr. Wagener that Geo's portastudio was used at the tail end of the signal chain
He utilized the Tubescreamer
He always seemed to have this slightly raspy, rounded tone that had the "crunch" and "bite" in the "wrong" freqs.
Sometimes it was even slightly fuzzy.
I dunno... it was less obvious when in the full mix of course, but listen to those ISOs and you hear it.
Lynch's Tone Isn't One Of My Favorites
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Lynch's Tone Isn't One Of My Favorites
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Re: Lynch's Tone Isn't One Of My Favorites
It's funny.. once we get ahold of these isolated guitar tracks, it really becomes obvious that some of these guys' tones only work in the mix.
You take Randy Rhoads or Dimebag's tone and listen to the ISO tracks, and it's just sonically grating.
You take Randy Rhoads or Dimebag's tone and listen to the ISO tracks, and it's just sonically grating.
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Re: Lynch's Tone Isn't One Of My Favorites
I'd say most guitar tones from a full tune had been sliced up EQ-wise to fit in the mix.
Generally speaking, the guitar is a midrange instrument.
One example is it was very common to hi-pass the low end, so the guitar's low end wouldn't clutter up the kick, bass and other instruments.
In standard tuning, the lowest note is the low E, which is 82.4 Hz. They would hi-pass at 100 Hz or even higher.
Part of making a good, clear mix is to ensure each instrument has its own frequencies carved out.
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