Vintage Guitar - January 2018 - open - 66

COLUMN Fretprints
online Dojo portal, which
contains valuable playing
insights.

SOUND
Lynch has been closely
involved with numerous
companies, lending design
ideas to Randall, ESP, Zoom,
Morley and Dean Markley.
His main guitars are ESP
modified double-cuts with
Floyd Rose vibratos, '80smetal-approved graphic finishes, in single- and multiplepickup configurations. His
trademark guitars in Dokken
flaunted black/yellow tigerstripe, kamikaze, and skulland-bones body treatments,
a Seymour Duncan distortion bridge pickup (now
his signature "Screamin'
Demon") and SSL-1 singlecoil neck and middle pickups
on some instruments. He
occasionally plays custom
ESPs with single-coils or
neck humbuckers, an ESP
'burst look-a-like and other
customs. He hand-crafts
custom Lynch guitars for
ESP and currently plays the
self-designed LTD acoustic.
For years, Lynch favored
a purple 1971 Marshall head
owned by Aspen Pittman and
heard on Dokken albums
in the '80s. He used a '68
George stretched his '80s style in Lynch Mob.
above. Artificial intervallic melodies like this are comMarshall plexi and Randall
This example from "Street Fightin' Man" reveals his
mon in Allan Holdsworth's fusion style, but unusual
RG stacks with 4x12 cabs in
expansion of fingering-shape ideas in the first two
in rock and metal. Again, the goal of the ascending
his live rig and later added
measures, in a phrase he dubbed the "Gothic octave
sequence is an upper-register climax with an evocaheads by Laney, Soldano,
section." He creates a repeating sequence using
tive string bend, made more intense with George's
Engl, Diezel, Bogner, Mesasymmetrical forms moving across the strings in a
tremolo-picking of the held bend. The brisk line in
Boogie, Hughes & Kettner
strict fingering. Note the half-step (G#-A) followed
measure 4 captures the pyrotechnics and intent of
and Marshall along with a
by a wide stretch to a major third (A-C#), basically
Yngwie's virtuosic approach with a high-velocity
Roland JC-120. He designed
encompassing a fourth interval (G#-C#) with a single
rapidly-picked line that suggests the neoclassical
signature Lynch-Box amps
hammer-on. The three-note cell is repeated on an ad- mood of the F# Aeolian mode. Note the F#5-F#(b5)
with Randall including the
jacent string beginning on a unison (C#-D-F#). Then
tritone progression in the background rhythm part
50-watt Headhunter, purple
the entire sextuplet figure is repeated an octave
that repurposes a familiar Lynch chord move.
Plexi re-creations, heads
with interchangeable preamp
modules (named "Mr. Scary," "Super V" TS808, and OC2 octave stomp boxes in various
Wolf Marshall is the founder and original editor-inand "Unholy Grail"), the LB-50 (also with effects rigs. He designed a Lynch Box G2G efchief of GuitarOne magazine and a respected author
modules), the 12-watt LB-15 combo, and the fects unit for Zoom and a signature two-mode
and columnist who has been influential in contemporary
LB103 100-watt head that incorporates the wah and Tripler three-channel amp switcher
music education since the early 1980s. His latest
for Morley. In the '80s, he favored GHS strings,
earlier module sounds.
releases include 101 Must-Know Rock Licks, B.B. King:
Lynch used MXR Phase 90, Echoplex, Boss and currently prefers signature Dean Markley
the Definitive Collection, and Best of Jazz Guitar. Wolf's
Graphic EQ, ADA chorus, Roland SDE3000 Super V high-nickel (.011 to .042) and Dunlop
list of credits can be found at wolfmarshall.com.
digital delay, Eventide Harmonizer, Ibanez Ultex .73mm picks.

VINTAGE GUITAR

66

January 2018


http://www.wolfmarshall.com http://www.VintageGuitar.com

Table of Contents for the Digital Edition of Vintage Guitar - January 2018 - open

Contents
Vintage Guitar - January 2018 - open - Cover
Vintage Guitar - January 2018 - open - IFC
Vintage Guitar - January 2018 - open - 3
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