GuitarDistortedSolo80% confidence
In My Dreams Solo Guitar Tone Settings — Dokken
Dokken · 1980s · metal
studio
Original Recording
Guitar
ESP Kamikaze (George Lynch signature, custom shop, 1980s version)
Pickups
Seymour Duncan 'Dokken-era' Distortion humbucker (bridge position)
Amp
Marshall JCM800 2203 head with Marshall 4x12 cabinet (studio, 1985-86 era, likely stock or lightly modded)
Pickup Position
Bridge pickup
Studio recording, 1985-86 for 'Under Lock and Key'. George Lynch used his ESP Kamikaze with a Duncan Distortion in the bridge, into a Marshall JCM800. No evidence of live rig or later amps/pedals used on this recording. No confirmed pedalboard for this solo, but boost/overdrive and delay are highly likely.
Amp Settings
Mids5
Bass6
Gain8
Reverb2.5
Treble7.5
Presence6.5
Effects Chain
- Overdrive/boost pedal (likely Tube Screamer or similar, model unknown) · overdrive
- Delay pedal (model unknown) · delay
ESP Kamikaze → Overdrive/boost pedal → Delay pedal → Marshall JCM800 2203 (with spring reverb) → Marshall 4x12 cab
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Tone Character
- singing sustain
- tight and percussive attack
- fluid legato runs
- aggressive pick attack
- harmonic squeals
- cutting lead presence
- crisp articulation
- rich upper mids
- slight delay tail
- 80s LA metal lead tone
Notes & Caveats
- No direct source lists exact amp knob settings for 'In My Dreams' solo; values estimated based on typical 80s Marshall JCM800 usage for LA metal and George Lynch's known approach.
- No studio pedalboard photos or explicit mention of pedals for this solo; Tube Screamer/boost and delay are inferred from era, genre, and audible effects.
- Pickup and guitar model confirmed for Dokken-era Lynch, but not explicitly stated for this exact solo—confidence high due to consistent use on this album.
- Delay is clearly audible in the solo, but pedal model is not confirmed; listed as 'Delay pedal (model unknown)'.
- Settings cross-referenced with genre and era conventions for accuracy. George Lynch's solo tone on 'In My Dreams' is classic mid-80s LA metal: high gain but not oversaturated, with a tight low end, slightly scooped mids, and bright, cutting treble/presence. The reverb is subtle, likely added in post, and the settings reflect typical Marshall (JCM800) usage for this genre and era.