| During the 1985-86 tour, George began getting into more sophisticated signal routing. Since the shows were getting bigger and stages were getting wider, there was a need to begin processing his sound in order to project outward. Still, with much more involved, the purity of the signal was not as compromised as it would seem.
 The guitar was routed first into the pedal board, which held a Roctron Hush pedal, BOSS GE-7 seven band equalizer and an Ibanez TS-808 Tube Screamer. As George describes, "I used an old Ibanez Tube Screamer or the e.q. to preamp my amps a little. " As can see in the illustration, George's use of the e.q. had the line level completely cranked wide open. When using the Tube Screamer, the gain was set very minimal while the level set to a very high clockwise rotation. These were his only two pedals used onstage and were only needed for solos depending on application.
>From here the signal goes into two rack-mounted systems. Included are two Lexicon PCM-41s and later one would be replaced by a Korg digital delay unit (not pictured). On the two PCM-41s, one was used for chorus and the other for echo set to around 450 milliseconds. In the next rack, there were two Rockman X100s that were controlled by the soundman out in front of the stage.
A Roland JC-200 amp was used for channeling a clean signal when using an A/B switch. This rare amp was a head version of the Roland JC-120 combo amp. The amp had a built in chorus that was unique only to this Roland line of amps. To boost the signal, Lynch looped a DOD 15-band graphic equalizer.
The amplifiers used on this tour were difficult to aquire. After having used Lee Jackson-modified Marshalls during the recording for "Under Lock And Key," while rehearsing for this tour, Lynch came upon a rented amp modified by Tim Caswell. Owned by S.I.R. (Studio Instrument Rentals in L.A.), they refused to sell the amp to George. Adamant about using the amp on tour, George rented the amp for the entire first leg of this tour. "Eventually, I had to give it back," said George.
George would later find Tim Caswell, the person who modified that amp, and had him do work on an amp. Caswell ended up doing five more for George. Seen here are three of the six that George took with him for the remainder of this tour. They are a '71 Marshall Super Lead, a '68 Marshall Plexi and a '71 Marshall Super Tremolo modified with 6550 power tubes.
Speakers on this tour (the four miked on the floor) were of the older Marshall variety with metal handles and loaded with 25-and 30-watt Celestion speakers.
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