The cache of amps brought in for the first Lynch Mob album was varied and too many to count. In the end, it came down to experimenting with several different amps that would also figure into George's live setup in support of this album.

Present again was Groove Tube's Aspen Pittman's purple Marshall '71 Super Lead 100-watt amp. George is notorious for having had this amp in his possession and stories of not being able to actually own it are legendary. At this point, George recounts, "I've tried to buy that head off him a dozen times and he just will not let it go. It's probably a good thing he doesn't sell it to me, because I'd probably end up destroying it."

Also in the studio were two new amps: two Engl 100-watt and a Soldano SLO-100. These two amps, known for their high gain capability would also figure into George's live rig following this recording. George discovered the Engl while doing a clinic for East Coast Music Mall. "It had tons of sustain and plenty of balls," said George. The Soldano had a special modification by Mike Soldano for George which featured a depth knob that added more aggressive tone. (ed. note: only four were made with this modification). For clean, George used a Roland JC-200, the head version of the Roland JC-120 stereo chorus amp.

Other odds and ends included a Groove Tubes Trio amp, an ART Power Station rack-mounted preamp, and a Fender Super Champ, which was used on the song "Rain."

Racks of effects gear also loomed in the studio with a dizzying array of equipment loaded in them. Among them was an Eventide H3000SE Harmonizer and a Roland GR-50 Synth. What was heard on the record in different places are backward guitars with vocal and bass pads attributed to these two pieces of gear. On the Eventide Harmonizer, George comments, "I'm just getting into its possibilities. Its and incredible machine." Violin passages were done with the use of the Sustainiac in conjunction with the previous two pieces.

The usual box of pedals was also there in the studio. Always in use is the Ibanez TS-808 Tube Screamer. For the first time on record, George used a wah pedal in certain places on the album by way of a Vox chrome top wah and a Morley wah.