George began recording music for the "Sacred Groove" album in April 1992, a month after recording was completed for the second Lynch Mob album. "Sacred Groove" was finished in June of that year with an eclectic mix of music that George wanted to get out of his system before heading out on tour with Lynch Mob. Recorded at Studio 55 in Los Angeles, the album was produced and mixed by John Cuniberti. The approach was completely analog: "John convinced me that was the the way to go. John prefers using old gear, old tube mikes and compressors to get a warmer, more natural sound. You're starting with tube amps, so the logic is to try and use the same kind of technology from beginning to end. I think we were real succesful with it," said George.

Guitars on this record were not recorded with a largely different variety of gear. The primary amp involved for much of the recordings was a '67 Park 50-watt head on loan from Marshall's Richie Fliegler, lent from the Marshall Museum. Fliegler had recommended this as being the best sounding Marshall ever. Again, this was the primary amp used.

Along with that head was an early Bogner prototype that would become the Ecstacy model. At the time, there was only one and it wasn't for sale. "I was fortunate enough to get my hands on it and meet with him, and he was nice enough to let me use it for a couple of weeks," George recalls. Also on hand but barely used was a '72 Marshall Super Lead. A very early version of the Mesa Boogie Dual Rectifier was used for rhythm overdubs here and there. These amps ran through four Genz Benz 4x12 cabinets that were loaded with fane or Celestion speakers.

Again, George's toybox was looming in the background. But as usual, the Ibanez TS-808 prevailed. In general, effects were kept to a minimum. The only other prominently used effect for chorusing and flanging was the Eventide H3000SE.

Guitars on this record were dominated by ESPs, mostly George's signature series models. However, a G&L Comanche was brought in and tuned to Nashville tuning (DADGBD) and a half-step down. This is the guitar that opens the album on "Luv Power From The Mama Head."

On "The Beast," George brought in his sitar for the middle section. Not very familiar with how to play it, George improvised: "...without a couple of the resonating strings. You really can't hit a wrong not. And I put a piece of tape on the frets I wanted to hit!" said George. In the studio, he was dubbed "Ravi Oli."