| When George rejoined Dokken in the fall of 1994, he found himself having to record guitar parts previously tracked by several other guitarists. The completed body of work was released in Japan on JVC simply titled, "Dokken." A re-mix of the album in early 1995 added new songs co-written by George and was released as "Dysfunctional" on Columbia Records worldwide.
George had an arduous task ahead of him as he re-tracked work previously done by other guitarists. To bring his signature tone to this record, George relied on several different amplifiers and very few effects to accomplish the work. Recording at 710 Studios in Redondo Beach, the amplifiers hauled in to resurrect these tracks were both old and new. After having experience on "Sacred Groove" with the prototype of a Bogner, George was fortunate again to have the final design of the Ecstacy head. Along with this amp were a Peavey Classic 50, a modified '72 Marshall 50-watt plexi,. Also on this ride were two Fender amps: a Tone Master, and a Vibro King.
As we have seen from the succession of previous Lynch recordings, the amount of effects was becoming more and more minimal. "Dysfunctional" has George at his rawest on tape at that time. An overdrive, fuzz or distortion pedal was used very little if at all.
It was during this time that Fulltone effects presented George with a new line of effects designed to replicate effects used by Jimi Hendrix. Among these are effects that George uses today: DejaVibe, "69" Pedal, and Octafuzz. They were designed to be hardwired versions of the Univibe, FuzzFace and Octavia. Also present in the studio in George's now legendary toy box was a Boss DS-1 Distortion, Ibanez TS-808 Tube Screamer, a Jordan Bosstone and the Sustainiac.
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