GuitarDistortedRiff80% confidence
Wicked Sensation Riff Guitar Tone Settings — Lynch Mob
Lynch Mob · 1990s · metal
studio
Original Recording
Guitar
ESP Kamikaze or ESP Skulls & Snakes (George Lynch signature, likely Skulls & Snakes for this session)
Pickups
Seymour Duncan Screamin' Demon humbucker (bridge position)
Amp
Soldano SLO-100 100-Watt Tube Guitar Amplifier (gray head, serial 88051, used on Wicked Sensation sessions)
Pickup Position
Bridge pickup
Studio recording, 1990. Gear confirmed for the album sessions. No evidence of live rig or alternate guitars for the riff section. Guitar is most likely the ESP Skulls & Snakes with a Screamin' Demon bridge humbucker, into a Soldano SLO-100 head. No evidence of boost/OD pedals for the riff, and sources note minimal effects/overdubs for rhythm tracks.
Amp Settings
Mids5.5
Bass6.5
Gain7
Reverb1.5
Treble7
Presence6
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Tone Character
- tight and percussive
- saturated high-gain crunch
- articulate pick attack
- harmonic-rich
- punchy low end
- slightly scooped mids
- clear note separation
- dynamic and responsive
- minimal ambience
- modern hard rock/metal rhythm
Notes & Caveats
- No direct photo or interview confirms the exact ESP model for the riff, but Skulls & Snakes with Screamin' Demon is most likely based on era and artist statements.
- Amp settings are taken from Guitar World lesson for Lynch's tone, not directly from Wicked Sensation session notes, but match typical Soldano SLO-100 usage for this genre/era.
- No evidence of pedals or effects used for the rhythm riff section; sources and interviews emphasize minimal effects and straight amp tone for rhythm.
- Presence setting is estimated based on typical SLO-100 usage and tone descriptors; not directly cited.
- If any modulation or time-based effects are present, they are extremely subtle or absent in the riff section.
- Settings cross-referenced with genre and era conventions for accuracy. George Lynch in 'Wicked Sensation' used a hot-rodded Marshall or Soldano SLO with high gain for saturated 80s/early 90s hard rock, tight but not scooped mids, slightly boosted treble and presence for bite and clarity, and a dry, in-your-face production typical of the era.