Well, the solos I pretty much did exclusively at Lynch Box Studio, which is just my own private Pro Tools studio, because I felt more comfortable there. Sounds like the environment was definitely conducive to just getting your whole creative process rolling. It was intimidating to a certain extent, but you also realize people are just people. You’d turn around one day and there’s Ozzy, Paul McCartney, Christina Aguilera or even the Backstreet Boys – like that’s relevant to what I do! And then there were some great jazz musicians and session players like Kenny Aronoff and Abe Laboriel. There were all kinds of magnificent producers there, and I learned a lot from just being around them. It consists of acres where they have huge sets and old mastering labs. It was Charlie Chaplin’s movie lot in the early 20th century – it’s this huge, private compound. Tell me a little bit about Henson Studios. The record was a five-year process, self-produced and done primarily at Henson Studios in Hollywood, and mixed by Mudrock, who mixed Godsmack and Avenged Sevenfold’s first couple records. Featured on the record are a lot of really cool musicians from important musical friendships that have developed over the years. The band includes myself, London LeGrand from Brides of Destruction, Johnny Chow from Fireball Ministry and Cavalera Conspiracy, and Yael, a female drummer who has played with Dave Grohl and Tom Morello. The Souls of We record, Let The Truth Be Known, was just released in August. You have a load of stuff going on right now, between Souls of We and the Lynch Mob. We recently tracked him down and got his take on gear, his attitudes on tuning and what it’s like for a decorated rocker to play in front of 60 elementary school kids. While Lynch can be found anywhere from his George Lynch Dojo Guitar Academy – an internet hub with online lessons from Lynch himself – to playing onstage regularly to hiding away in his personal recording bunker, Lynch Box Studios, he’s always willing to talk gear and tone. He finds himself just as busy as before, but that’s alright for the six-string virtuoso, who hasn’t shut the door on a Dokken reunion tour later this year and already has some dates lined up with the Lynch Mob. Lynch hasn’t had much time to sit and dwell on his past success rather, he just keeps striving for that “carnal spontaneity” which many of his metal riffs are derived from. Ever the creator, Lynch was a founding member of the platinum-selling metal band, Dokken, cultivated the Lynch Mob, produced a string of successful solo projects and, in his latest endeavor, leads a crunch-filled ensemble called Souls of We. You might think that a guitarist who is so enamored with tone, who spends a large part of his time developing and designing the newest gear, wouldn’t have any time left for touring and records, but we’re talking about Mr. While Lynch didn’t invent gear lust, he certainly had a hand in legitimizing it. Before Lynch, this would have been pure insanity now it’s de rigueur for any major artist. It’s such an affliction that Lynch extensively alters his rigs for each tour, all in search of the perfect setup. The leader of this select group is none other than George Lynch, who is not only a long-time sufferer of GAS, but also a stellar guitarist who has initiated and developed signature Randall Amps, ESP guitars, Dean Markley strings, the Seymour Duncan Screamin’ Demon pickup and countless other effects and accessories. While some go after Golden Era solidbodies or trick their pedalboard out with an assortment of boutique fuzzes, flangers and delays, a select few try to put their stamp on everything that can be plugged or played. As musicians gain fame and fortune through their musical accomplishments, some fall victim to the condition we often label as “gear lust” or GAS – Gear Acquisition Syndrome.
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