No. 0691976·hard-rock·4 blocks
The Boys Are Back in Town
Thin Lizzy's signature is the harmonized twin lead, and The Boys Are Back in Town is its definitive statement. Scott Gorham and Brian Robertson each played a Gibson Les Paul Deluxe through cranked 100-watt non-master-volume Marshalls — gain from sheer volume, not pedals — harmonizing the hook (which started life as Phil Lynott's bass line) mostly in thirds. Gorham's only regular color was an MXR Phase 90; Robertson favored a Colorsound wah. Recorded at Ramport Studios with producer John Alcock.
JailbreakSignal path · input → output · 7 blocksLive values · Neural DSP Quad Cortex
Guitar
Gibson Les Paul Deluxe
Pickups
HH
Tuning
both
Strings
standard
LA Compressor
Phaser
1959 SLP
4x12 Greenback
Plate
Tilt EQ
LA Compressor
← Studio compression
Threshold
-34dB
Ratio
2:1
Attack
8s
Release
200s
Mix
50
Level
0dB
Phaser
← MXR Phase 90
Rate
0.3Hz
Depth
0.5
Mix
0.4
1959 SLP
← Marshall Super Lead 100
Gain
6
Bass
5
Mid
6
Treble
7
Presence
6
Master
7
Sag
5.5
4x12 Greenback
← Marshall 4x12 (Greenbacks)
LowCut90Hz
HighCut11000Hz
Level
0dB
Plate
← Studio plate (light)
Decay
1.2s
Predelay
20ms
Mix
12
Level
0
Tilt EQ
← Tilt EQ (global brightness)
Tilt
5
CenterFreq
1000Hz
Level
0
Engineer's note
File 069
Thin Lizzy's signature is the harmonized twin lead, and The Boys Are Back in Town is its definitive statement. Scott Gorham and Brian Robertson each played a Gibson Les Paul Deluxe through cranked 100-watt non-master-volume Marshalls — gain from sheer volume, not pedals — harmonizing the hook (which started life as Phil Lynott's bass line) mostly in thirds. Gorham's only regular color was an MXR Phase 90; Robertson favored a Colorsound wah. Recorded at Ramport Studios with producer John Alcock.
— Scott Gorham
Sources · Verified by
