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.
