kirk's amps

Updated: Mar 22, 2006

NEWS:

Kirk's wah history page is up, but does not contain info at this time.

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Live Gear Lists will only be made when they differ from Studio Equipment.

Studio

  • James' Jose Arrendondo modified marshall 100 watt SLP head used for all solos
  • Ibanez tube Screamer -Not too sure, there were reports he might have had it at this time though.
  • Boss Distortion Pedal-Used in front of his amp mainly for solos

  • Dunlop Wah-Click HERE for info regarding Kirk and WAH

Notes/Quotes:

  • "...I used my black Flying V with an old '57 humbucker, which I've had for 12 years now. I plugged in through James' modified Marshall amp, mainly because we didn't have a lot of equipment at that time. I also used a Boss Distortion pedal." gw october, 1991
  • Speaking about the solo for 'Seek & Destroy:'
    "When I was doing that guitar solo, I was using James' Marshall. That was the Marshall-it had been hot rodded by some L.A. guy, the same guy who hot rodded Eddie Van Halen's Marshalls [Jose Arrendondo-MJF]-and when it came time to do my guitar leads, I just plugged into that...I had my trusy old Ibanez Tube Screamer, my trusty wah pedal, and my black Gibson Flying V that I used on the first four albums-it was either a '74 or a '78, I'm not sure." Guitar World, March 2002

Live

  • Marshall JMP 2203
  • Dunlop wah
  • Boss Distortion-Used for solos

Studio

Notes/Quotes:

  • "I was still using the black Flying V and the Boss Distortion pedal through Marshall amps, with TC Electronics EQ." gw october 1991
  • "I was still using the black Flying V, but on FADE TO BLACK, I used the neck pickup on my guitar to get that warm sound. I played through a wah-wah pedal all the way in the 'up' position." Guitar World, October 1991
  • "Again, we were using Marshalls; I tracked the whole album with Marshall amps and my Gibson Flying V.

Studio

  • Mesa Boogie Mark IIc+ -This is the amp that James would later "borrow" and use it for his main rhythm sound.
  • Furman PQ3 parametric EQ
  • Mesa Boogie Heads slaved into Marshalls-JMP/JCM800
  • Ibanez tubescreamer-Used for Solos

Live

1986

RACK 1

  • hush noise reduction
  • ADA FX2
  • ADA STD-1 Stereo Tapped Delay 
  • ADA Digitizer 4
  • Marshall JCM 800, horizontal input
  • Marshall JCM 800, horizontal input

RACK 2

  • Mesa Boogie Mark IIC+ Long Head?? -I am not totally sure what MARK amp these are. It is for sure a wide chassis head, most likely either a IIB Coliseum or III Coliseum 300. This is a wide head, with no push/pull pot on the 4th and 8th controls. The IIB doesn't have a push/pull on the 3rd, 4th, and 8th controls. The III Coliseum 300 has push/pull pots on all controls except the 8th (Reverb). I have also been told that the IIC+ was available in a wide chassis head, so it could be that too.
  • Mesa Boogie Mark IIC+ Long Head???

Other

Notes/Quotes

  • "I used a Mesa Boogie Mark IIC+ amp and a black Randy Rhoads custom Jackson guitar." Guitar World, October 1991
  • "A lot of people think I actually came into my own sound on that song [Master of Puppets-MJF]. That had everything to do with buying Mesa Boogie Mark IIC heads. Boogie made those heads for a short time in the mid eighties and only made a limited amount of them. The moved on after that, and they haven't really been able to recapture that sound since-I don't know if they ever tried or not. But there's something about Boogie Mark IIC heads that were really unique and very individual in their gain stages and overall sound. Most of 'Master of Puppets' was tracked with Boogie heads and Marshall heads combined, and I used my Gibson Flying V and my Jackson. By that time, I also had my black Fernandes Stratocaster." Guitar World, March 2002.

Same recording amps as before, this is when Kirk began using ESP guitars with EMG pickups.

Notes/Quotes

  • "That was recorded when I first started using ESP guitars with EMG pickups. All the lead guitar parts on that EP flowed really quickly; I did them in two nights." Guitar World, October 1991

Studio

  • Mesa Boogie Mark IIc+
  • Mesa Boogie power amp
  • Mesa Boogie Quad Preamp
  • ADA MP1 preamp -Used along with his tube screamer for leads. Used without TS for clean
  • Aphex Parametric EQ
  • Ibanez Tube Screamer-Solo boost
  • Mesa Boogie Heads slaved into Marshalls

Live

1989

RACK 1

  • furman power conditioner
  • Mesa Boogie Midi Matrix
  • empty space (1)
  • Mesa Boogie Studio Preamp
  • graphic eq
  • Mesa Boogie strategy 400
  • Mesa Boogie strategy 400

RACK 2

  • Furman power conditioner
  • DBX 463x Noise Gate
  • ADA MP1
  • Boss tuner
  • 2 vertical parametric tuners
  • Yamaha SPX 90II
  • unknown rack unit
  • Roland DEP-5
  • ADA MQ1 eq

Other

  • Ibanez Tube Scremer-Solo Boost
  • Mesa Boogie Quad Preamp
  • Dunlop Wah
  • Vox Wah

Notes/Quotes

  • "I used a Mesa Boogie power amp, an ADA preamp, and an Aphex Parametric EQ on this album. We wanted a clean guitar sound for 'One.' The first solo went fine, but I had trouble with the second; I just couldn't nail it. I only had eight days to record all my leads because we were heading out on the 'Monster's of Rock' tour. As a result, I was never happy with what was on the record, and I flew to the Hit Factory in New York between gigs to patch up the solos. I did the third solo in a couple of hours. I worked out the first right-hand tapping thing and from there it flowed very well. I think it worked because I was so pissed off that the second solo wasn't working out. When I had to play that live, it didn't feel right because it was so clean. So I started playing it full volume with full distortion on my neck pickup, and liked it better. In retrospect, I think I should have played it that way on the album." Guitar World, October 1991
  • "...I also used an ADA preamp and an ADA MP1-it was a programmable digital amp that had tubes in it, with a separate rackmounted EQ. I remember blending that thing with the Boogies for lead sound and clean sound. The clean sound on 'One' was done almost exclusively with an ADA MP1 [KIRK'S clean parts on ONE, not the clean intro parts James plays-MJF]." Guitar World, 2002
  • Onstage, Kirk Hammett favors Strat-type guitars with EMG pickups. He has two Tom Anderson guitars, a Kramer, an ESP, a Jackson, and a Fernandes. "Believe it or not, they all sound tremendously different. My ESP has a really bright, even tone, and a tight low end, so it's good for a song like 'Blackened' which has a lot of single notes and not many chords. It's the best guitar for percussive riffs. The Tom Anderson guitars have a great lead tone-the notes all sound really fat, and very distinct from each other. The Jackson is the warmest guitar I have-it's great for fingerpicking stuff."

    But most of Metallica's albums [meaning prior to AJFA at the time of the original interview] were done with an early 70s Gibson Flying V that Kirk no longer takes on the road. In the studio, he uses Mesa Boogie Simul-class II amps, but his onstage MIDI setup includes a Mesa Boogie Strategy 400 poweramp and an ADA MP1 preamp. He runs his signal through a Jim Dunlop Crybaby wah, Yamaha SPX-90II and Roland DEP-5 digital signal processors, an ADA MQ1 equalizer, and an Ibanez Tube Screamer [TS10]. "The Tube Screamer has a certain warmth and smoothness. A lot of other distortion pedals just sound like chainsaws." Each of his four 4x12 Mesa Boogie cabinets is fitted with two Celestion and two Electro-Voice speakers. His strings are Dean Markleys, gauged .009-.042. Both he and James use green Jim Dunlop Tortex picks. Guitar Player April 1989

Studio

  • Bradshaw preamp-Used for lows and mids
  • VHT 2150 poweramp
  • Bogner Preamp
  • Mesa Boogie Mark IV
  • ADA MP1 Preamp
  • ADA MQ1 EQ
  • Purple 100 watt Marshall Super Lead-Used for "nice clean highs"
  • Modified 50 watt Marshall Super Lead-Used for "nice clean highs"

  • Late 60s Vox wah that is rumored to have belonged to Jimi Hendrix

  • Ibanez TS10 Tube screamer

Notes/Quotes

  • "I used a Bradshaw because the mids were clean and the low end sounded real percussive. The harmonic distortion also sounded nice and dirty. For the highs we used two Marshalls. We combined all the sounds and put the Bradshaw preamp through a VHT poweramp. We put it all through Marshall cabinets with 30 watt speakers and blended all the room mikes. My sound is a lot thicker and punchier than before, and I think it's better than ever." Guitar World, October 1991.
  • "My philosophy has always been a clean amp with a stomp box. I hate the sound of piling distortion on top of distortion. I was using a Mesa Boogie preamp, but I've gone back to the ADA MP1 with an ADA programmable EQ [MQ1-MJF] through a Mesa Boogie Strategy 400 power amp. For leads, I use a low gain setting on the ADA MP1, but switch on an Ibanez Tube Screamer. Using the Tube Screamer in conjunction with a tube amp reallly brings out the tube qualities of the amp. And there's just something about that simple, raw, gritty, fuzz box sound. One of the best lead sound I ever got was when I played an Electro Harmonix Big Muff through a Montgomery Ward amp with 3" speaker for a Jeff Beck tone." Guitar Player, October 1992.
  • "VHT power amp [2150-MJF] with Bradshaw preamp through Marshall cabs for lows. Straight Marshall for highs. I didn't use the Boogie Gear I used on 'Master of Puppets' and 'And Justice For All.' I also stopped using the ADA preamp [He did continue using it though, especially live-MJF]. The Bradshaw is my favorite preamp..." Guitar Player, September 1991.
  • "Again, I was playing my ESP with a wah pedal, and this time I used a bunch of different amps. We were combining Boogies and modified Marshalls; I also think we had a clean old FEnder in there, and maybe even an old Vox amp, and they were all blended together to get that tone. I can remember getting that lead guitar sound together very quickly, very spontaneously." Guitar World, March 2002.
  • "We blended two sounds: A VHT power amp [2150-MJF] with this new Bradshaw preamp through a Marshall cabinet-which was great for the lows and mids-and a straight Marshall [head-MJF] for the highs. There's no direct signal. I didn't use the Mesa Boogie gear I used on MASTER OF PUPPETS and JUSTICE; it just didn't have the biting top end of the Marshalls [Another interesting statement...You can clearly see Kirk using Boogies in the studio-MJF]. I also stopped using the ADA preamp [And another interesting statement...You can see the mp1 in Kirk's rack during the studio...Maybe he didn't use it, but it was also in his live rack-MJF]. We tried Bogner [Fish-MJF] and Marshall preamps, too, but the Bradshaw was my favorite. When we play live, I'm probably going to use the two amp setup, probably with a Bradshaw Patchmate, which lets you switch amps through MIDI. It will probably be the VHT/Bradshaw combo for the rhythm tone, adding the Marshall for my solos."

    "No Tube Screamers this time [Although you can see one on the floor in various shots-MJF]. The wah was my only effect so far [Take note of "So far," meaning he could have used other effects after this time-MJF], though we have yet to record some solos. I used an old Vox, which is a bit warmer than a Cry Baby. The highs aren't as brittle, and it scoops a little differently. [James commenting on this:] The Vox is 'mouthier-' it really talks." [Back to Kirk:] Some people say that players hide behind wah pedals, but for me, they augment a solo and embellish certain parts.

Live

  • I just got in a ton of info regarding the live setup, updating regularly...

  • Boss SE-50
  • Vox Wah
  • -Juice Goose Power Conditioner
  • ADA MP1 Preamp
  • ADA MQ1 EQ
  • Rocktron Juice Extractor
  • Bradshaw Switching System
  • Eventide Ultra Harmonizer H3000
  • Custom Audio Electronics Preamp
  • EMB Audio Remote Wah System-Click HERE for info regarding Kirk and WAH
  • "Lunchbox" Aphex Parametric EQs
  • VHT 2150 Power Amp
  • Mesa Boogie Mark IV
  • Marshall 1960 Cabs
  • Ernie Ball Volume Pedal (Controls wah)
  • Ibanez TS10 Tube Screamer (solo boosts)
1993

RACK 1

  • Juice Goose...power conditioner
  • Eventide Ultra Harmonizer H3000
  • Boss SE50 (2)
  • ADA MQ1 EQ
  • ADA MP1 Preamp
  • Rocktron Juice Extractor
  • CAE 3+ Tube Preamp
  • __
  • EMB Audio Remote Wah System-Click HERE for info regarding Kirk and WAH
  • 2 Vertical Parametric lunchbox EQs
  • Rocktron Patchmate
  • Rocktron/Bradshaw Switching System

RACK 2

  • Furman power conditioner
  • __
  • __
  • ADA MP1 Preamp
  • ADA MQ1 EX
  • Mesa Boogie Mark IV
  • Mesa Boogie Triaxis Preamp
  • Mesa Boogie Strategy 400 Power Amp
  • Mesa Boogie Strategy 400 Power Amp
  • Ibanez TS10 Tube Screamer-Solo Boost

Studio

  • Matchless Spitfire
  • Vox AC30
  • Little Lanilei
  • Mesa Boogie Mark IV
  • Mesa Boogie Triaxis
  • Ibanez Tube Screamer TS9
  • Live Preamp and Poweramp Racks (See Below, Live Section)
  • Matchless Cheiftain

Notes/Quotes

  • "The only real influence that the music I've been hearing has had is that it's sparked my interest in all the old, shitty sounding Electro-Harmonix and MXR effects pedals I used to use when I was younger."

    "I think the VG-8 is one of the best inventions ever. If you get tired of one sound, you can just switch presets and explore entirely new possibilities. I've spent hours fucking with around with it." Guitar World, July 1996
  • "For the 'Load' album, I was experimenting so much with tone I had to keep journals on what equipment I was using. For 'Hero of the Day' I know I used an 1958 Les Paul Standard with a Matchless Cheiftain, some Boogie amps and a Vox amp-again, they're all blended." Guitar World, March 2002.
 

Live

Kirk's effects are provided by the rackmounted preamps and the only thing he has access to is his wah, which is actually a remote housed in an Ernie Ball volume pedal. Here is a photo of Kirk's racks:

Live, Kirk had two 20 space racks that housed his preamps and poweramps. On top of the preamp rack is a JCM 900 lead 1936 2x12 guitar cabinet.

 Kirk's preamp rack contains the following:

  • Juice goose grand loop control 320 (power strip)
  • EMB Audio Remote wah-Click HERE for info regarding Kirk and WAH
  • Nady 1200 wireless system
  • sony wrr-840 wireless system
  • TC electronics m2000 effects processor
  • Bradshaw RSB-18R switching system
  • Custom Audio Electronics 4x4 switcher
  • Mesa Boogie hi gain amp switcher
  • Marshall jmp-1 preamp
  • Mesa Boogie Triaxis (clean)-SETTINGS
  • Mesa Boogie Triaxis (distortion)-SETTINGS
  • Mesa Boogie Dual Rectifier SETTINGS
  • Mesa Boogie Dual Rectifier SETTINGS

Kirk's power amp rack contains the following:

  • (spaces 1-4 are covered)
  • (spaces 5-8 have a slight see thru cover)
  • (spaces 9 and 10 are covered)
  • EMB Audio remote wah
  • Mesa/boogie Strategy 400 Stereo Power Amp

  • Mesa/boogie Strategy 400 Stereo Power Amp

Also used were a Roland VG System and an Ibanez TS9 Tube Screamer for solos



Kirk's modified Ernie Ball volume pedal that is actually a controller for the EMB AUDIO REMOTE WAH SYSTEM. THERE ARE NO OTHER WAH MANUFACTUER'S GUTS/SYSTEM INVOLVED.

Studio

  • Lovetone Meatball
  • Lovetone Wobulator
  • Lovetone Brown source
  • Lovetone Way Huge Swollen Pickle
  • Live Preamp and Power amp racks
  • Digitech Whammy
  • Vox AC30
  • Matchless Cheiftain
  • Trainwreck

Notes/Quotes

  • "One company that I love is Lovetone. Unfortunately, you can't get that stuff anywhere in the States, which really pisses me off. Then when you do get it you have to get an alternative power supply-but it's worth it. Their Brown Sauce [Source-MJF] is amazing, I love that pedal. I also use the Way Huge Swollen Pickle Fuzz box, that's great too."

    "In the studio, we mainly use Boogie amps, Matchless, and Marshall. I was also impressed with the Vox AC30, I didn't really know how good that was before. Then there's this Trainwreck made by Ken Fisher in the United States. There's so few of them but they sound absolutely incredible. The last one up for sale went for $14,000"

    "Live I use a Boogie Dual Rectifier and the Tri-Axis amp. My tastes in tone have definitely changed. I don't like so much distortion these days and the Boogie is nice and crisp. But when I need that bit of extra kick I'll use the Tri-Axis." Total Guitar, February 1998

Studio

  • Live Racks
  • Line 6 flextone head
  • Trainwreck

  • Modified Ibanez TS( Tube Screamers from Analog Man (Mike Pierra).

Live

Same Live Racks

Same Live Racks

  • Live Racks
  • 1963 Fender Seafoam Green Strat
  • Fender Telecaster-Used on the Verse Riff
  • ESP "Mummy" MII-Used on the solo, neck pickup.
  • Lovetone meatball -"Wah" sound heard in the bent octave intro riff
  • Digitech Space Station-Used while playing harmonics during the chorus

  • Super Fuzz pedal-Used on the solo

A few words about this list before we get into it too much. This is a list of all that can be seen in the studio, it does not necessarily mean that Kirk did use every single amp/pedal on St. Anger or that it played a vital role. His main recording setup was the Marshall plexi, Dumble SSS, and live rack. Items that were a main part of Kirk's recording gear are marked with an *

Studio

This is Kirk's main recording area where his main amps are setup.

   
The following photo and information comes from an overseas guitar magazine and the translation is by Robert...Thanks!
  • 1) Line 6 duoverb
  • 2) Marshall 1960b cabinet the logo is taped of in the classic streetmetal way, you have trendmakers and trendfollowers...All the cabinets of Metallica have celestion 30 speakers, doesn't mather what brand.  
  • 3) Fender stratocaster early 60's in lake placid blue with a later put on badass bridge  
  • 4) californian barstool even guitar heros need a piece of wood  
  • 5) Marshall Super Lead Plexi top the classic british amp, complete with the original cabinets  
  • 6) Marshall 1960b zie nr.2  
  • 7) ESP the Mummy maybe the most famous and favorite ESP from Kirk, he ownes the design, with filmlegend BORIS KARLOFF in one of his most famous movies  
  • 8) Mesa Booge triple rectifier on stage metallica plays trough different Boogie pre-amps but the sound of the rectifier is THE typical metallica sound for many years, and what about the new rectifier-backline??  
  • 9) Dumble super string singer a really rare and expensive top from the legendend in amps, the amp guru ALEXANDER (used to be HOWARD) DUMBLE, the power of this amp is 150 watt but that's the only thing that's known about this amp. Stevie ray Vaughan used to play this amp! He enjoyed the glass feel and pure volume  
  • 10) Brown cabinet it's red, we don't know more about it.. Information is welcome
    •
     
    Notes/Quotes
    • "We used our road rigs in the studio so we'd have maximum reproduction of our studio tone live. The bulk of my tone came from that setup, and then, whenever needed, I embellished it with other amps-a bunch of Marshalls, some Randalls, and a rare, dual powered '59 Fender Twin Reverb, which is one of my favorite amps. I recorded using two 4x12 cabs-a Mesa Boogie loaded with Celestion Vintage 30s and an old Marshall cab from the Sixties with a cool pinstripe grille and 25-watt Celestion Greenback speakers."

      "I used my Whammy pedal, but I locked up my wah pedals for this album, once again because I'm avoiding things I did in the last century and also because I didn't want it becoming an albatross [This statement is rather interesting, considering you can see various wahs in the studio-MJF]. Of course, I still have my fleet of wah pedals at home, and I still use them all the time."

      Other pedals Hammett stomped on during the making of the album include all four Line 6 Modeler pedals (FM4 Filter, MM4 Modulation, DL4 Delay, and DM4 Distortion) and a Pefftronics SB-100 Super Rand-O-Matic. "The Line 6 pedals are just great. If you have all four, then the sky's the limit. I try to get al four running at the same time!" The guitarist is equally enamored of the Rand-O-Matic, which is a wacky phaser/flanger/wave shaper/delay device with a clever 'randomness' circuit. "It's incredible. It's totally random, uncontrollable and unpredictable. I love it to death!" Guitar World, August 2003
    • [Bob Rock interviewed by Guitar World-MJF]
      "We were having fun using all sorts of different amps. Every day James and Kirk would bring in a new amp and plug it in, and if that inspired us, that would start the song. We added a 50-watt Wizard and a Marshall DSL 2000, and they sounded great. And Kirk's been collecting lots of vintage amps, so we tried a few of tohse. The only other amp that was an oddball was a Silvertone that I bought just down the street. We've used that pretty much for anything that was dirty-clean, and with an RCA RC44 mic on it, it sounds amazing." Guitar World, August 2003

    Live

    On top of racks:
    • Pedalboard
    • Digitech XP-300 Space Station

    Rack One

    • Furman PL Pro
    • TC Electronics G-Major
    • Mesa Boogie Triaxis-SETTTINGS/INFO
    • Shelf: Weber MASS, Digitech WH1 Whammy (1 of 2, #2 is on pedalboard)
    • DMC System Mix Plus
    • .
    • .
    • Mesa Boogie Strategy 400 Poweramp
    • Mesa Boogie Strategy 400 Poweramp

    Rack 2

    • Furman PL Pro
    • Sony WRR-840 Wireless
    • Dunlop 1SR Rackwah-SETTINGS, Wah History
    • Dunlop 1SR Rackwah-SETTINGS, Wah History
    • TC Electornics G-Major
    • Rack Drawer: Ibanez TS9 tubescremaer, modified by Analogman
    • DMC GCX Audio Switcher
    • DMC GCX Audio Switcher
    • Mesa Boogie Triaxis-SETTINGS
    • Mesa Boogie Triaxis-SETTINGS
    • .
    • Mesa Boogie rackmount Dual Recto-SETTINGS
    • Mesa Boogie rackmount Dual Recto-SETTINGS

    Pedalboard:

    • Line6 DL4 Delay
    • Line6 MM4 Modulation
    • Digitech WH1 Whammy

    Ground Control Pro
    The following refer to the Ground Control Pro footcontroller that Kirk's tech, Justin, uses to control the changes during a show. For those not familiar with this setup, the first set of 8 are the actual units which reside in a loop (GCX audio switcher) and the second set of 4 are the actual "tone" used during a show.

    • 1-WAH-1SR rackwah with 5 controllers
    • 2-TUBE-Ibanez TS9 tubescreamer, used for solos
    • 3-JS-Digitech WH1 Whammy in rack (I think)
    • 4-TC-TC Electronics G-Major
    • 5-FLOOP-FLOOP=Floor Loop, Kirk's pedalboard
    • 6-TRIAXIS-Triaxis
    • 7-RECTO-Recto 1
    • 8-KID-Recto 2 (I think)
    • 1-MEAN-Dual Recto
    • 2-MEAN 2-Dual Recto
    • 3-SCREAM-Dual Recto, Triaxis
    • 4-CLEAN-Triaxis

    Other Onstage

    • Ernie all Volume pedal-Connects to midi solutions pedal controller and into TC Electronics G-Major
    • Midi Solution Pedal controller
    • DBX 1074 Quad Gate

    Backstage

    • Mesa Boogie Tremoverb combo
    • Mesa Boogie Dual Rectifier- Settings HERE
    • Mesa Booogie Stilleto- See settings HERE
    • Ibanez TS9 Tube Screamer-See settings HERE
    • Vox Wah

    Notes

    • The Mesa Boogie Dual Rectifiers onstage are just for show and are not used.
    • Audio-Technica 2500 Artist Elite for guitars (actually a drum mic)
    • A&S road cases, soundproof iso cabs


    2006 LIVE: Stones gigs

    • Same live racks as 2003-2005

    LIVE: VH1 Hall of Fame
    • Randall RM100 head (not sure on the modules used)
    • Mesa Boogie Dual Recto head (chrome chassis 2 ch)
    • Vox (?) wah
    • Normal floor pedals

    LIVE: South Africa
    • Possibly just a few Mesa Boogie Recto heads, maybe the Randall RM100 head, normal floor pedals. Not sure if he used his rack setup.





     

    If you have any questions or comments, feel free to email me

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