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On Porno we did in fact use my ADA/McIntosh combination on most of the rhythm tracks. The ADA had the original Version 1.x software in it (tried to upgrade to 2.x but didn't like it and went back to 1.x, still got that one) and was driven by a Furman EQ3 (i think that was the name, red buttons on the front, still got that one too), boosting the high end and gain just a little. The McIntosh amps were the 2100s transistor amps (I just sold those last week). They are in fact 100W/side HiFi stereo poweramps with -10dB RCA inputs (easy to overdrive with the ADA), but the big difference is that they have big fat output transformers, even though they are transistor amps. They also have massive Condensors (?) in the powersupply and can deliver a lot of low end power peaks. The cabinet was exactly the same 30W marshall as on ULAK, rented from Andy Brauer.

Not all tracks on Porno were played with that combo, but most of the main R-Gtr tracks were. Nuno was using a Boogie on some tracks, but I don't remember the model. Mics were the Fostex M11RP ribbons (blowing one on almost each track) and mostly the Countryman lavalier.

Nuno is an amazing guitar player and that is were most of the tone comes from. It's all in the hands We did use that same combo on the first SkidRow album (and on White Lion Pride), but we used a whole bunch of other amps as well.

Another important ingredient for the guitar tones on those records was the UREI 530 nine band graphic EQ, my fav EQ for electric guitar. It was inserted on the summing bus right before the digital tape machine.

BTW, I forgot to mention that on the George Lynch thread: all the tracks on those records (Dokken, White Lion, Skid Row, Extreme etc.) where recorded digital (Mitsubishi X850 and 3M digital 32 track) except for the drums, they were recorded on analog 2".