The whole Tooth And Nail era for George was filled with growing changes. While recording this album, George and his never-ending pursuit of the ultimate tone matured. Geoff Workman, the album's engineer is credited for making the tone "glistening." Geoff was working on the Motley Crue record at Cherokee Studios at the time and George liked the e sounds he was getting.

"We used a whole lot of things. We used Randall amps and I used six cabinets, 13 mikes and four channels. I don't exactly know what Jeff did, but he cued it in a certain way to make it sound pretty huge," said George.

On the road however, George didn't take too well to the Randalls this time around. Going back to tube amps, he had a common belief: A tube has a voice to it and allows for much more expression whereas the transistor amps tend to respond in a more linear fashion. You can duplicate the waveform on a scope with a transistor, but there's still something missing. So I went back to tube amps and I'm still using the Randall cabinet with the Celestions. I like the old Marshall tone, but the old Marshalls are so inconsistent and they break down. You have to keep the tubes changed out and replace the filter caps now and then". I was always re-biasing my heads back then. I would actually pull the chassis out of the box and attenuate the bias with a screwdriver while as playing it. I got spanked pretty hard a couple of times doing that!

One of the amps George experimented with was the Seymour Duncan Convertible head. This 100-watt amp featured tube "modules" formulated to create different preamp tones by placing them in different combinations and different orders inside the amp's chassis. Several prototype modules were made for certain players. They even made one for George.

Somewhere during the tour, George dumped the entire rig and switched to the Laney AOR Pro Series heads and Marshall cabinets. "I picked up on the Laney’s midway through the tour. When I was younger and growing up on early Sabbath I had read in Melody Maker (English music paper) how Iommi used Laneys. He was a big hero of mine and when they were available again I jumped in. Unfortunately, these AOR heads were nothing like the “real” early Laneys "

George's on tour guitar arsenal included the mainstay yellow Mighty Mite tiger guitar, the Charvel Submarine graphic strat, a Charvel Bengal Tiger graphic Dinky and the black Charvel Strat. It was during this tour that he was to make an even trade of the Charvel Bengal Tiger for the red Kramer Baretta (ed. note: re: guitars section). Later, we'll see how this led to his association with ESP.

Along this tour was George's only attempt at simplifying his rig, saying, "I dumped all my rack stuff. The only effect I'm playing through now is a Roland Space Echo and a little 7-band EQ." The rack stuff was just getting in the way of the sound. I was losing so much guts running through all those effects. In most big places, they'll have everything up front at the board anyway."