"I had a blast with it but got tired of it real quickly. After working with it three days, I found it real limited." He also revealed other quirky things about what is heard on certain tracks: "A lot of the bass lines were the Roland. I also used the Synclavier guitar. A lot of the acoustic guitar you heard wasn't acoustick guitar. It was the Roland GR-707 with the harp setting."

For Lynch, the Synclavier, with which he flirted briefly, proved to be more problematic. "I'd hit one note and eight." The instrument provided pads on "Will The Sun Rise" and synthsized voices on "Unchain the Night."

Much of the album was recorded with Lynch's old tiger striped Mighty Mite strat guitar. This is the guitar most synonymous with Lynch. See photos of the yellow Mighty Mite strat shaped guitar. This body has featured several different necks over the years prior and which now has its original Boogie Bodies neck (see information on this guitar in the guitar section of this websight). During the recording of this album, the guitar sported a Kramer banana headstock neck with a rosewood fingerboard, with a 1 11/16" width at the nut. At the time, Lynch preferred super-high frets and .009 gauge string sets. During the recording of this album, an assortment of picks were found lying around...including a metal washer and graphite picks.

The workhorse amplifier setup consisted of 1968 and 1971 100-watt Marshall Super Lead heads powering vintage Marshall cabinets with metal handles, green Tolex and 25/30-watt speakers. In a couple of these 4x12" boxes Lynch installed Fane speakers pulled from Vox Bulldog cabinets. He also employed a variety of other amplifiers for the LP.

George used a mix of these different Marshall set-ups in the studio which resulted with a clean power section to preamp through. Included here are two 1968 Marshall plexi heads and a 100-watt Marshall Super Tremolo that were modified by Lee Jackson of Metaltronix, fitting them with 6550 power tube sections.

Signal routing was more simplistic than presented here. As Lynch explained it at the time, "I use an old Ibanez Tube Screamer or a Boss GE-7 to preamp my amps a little. Other than that, I don't use pedals except an A/B switch to throw on another guitar. I go stereo out of a Lexicon PCM-41 with 28 milliseconds of delay to fatten up my rhythms." Also pictured here two Rocktron HUSH II-C's to keep things quiet on both sides of stereo application. A Rockman Distortion Generator was used to push the signal a little more to the power section. Used in A/B switching, there is also a Rockman X100-B in a Rockmount for a chorused clean signal. While using the clean alongside the high gain in an A + B application in tandem, Lynch describes the sound as "giving it a a bit of a shimmer and percussion" to the rhythm guitar parts.

As mentioned, Lynch used an old Ibanez Tube Screamer or the BOSS GE-7 to preamp his amps. Above is the TS-808 that has been present for most of Lynch's recording career, as was used during the 1985 recording of Dokken's "Under Lock And Key" album.