Hammett’s signature amp can be traced back to a Fortin Meathead. Randall had done this before – setting up licensing deals with boutique builders such as Egnater and selling the results as Randall amps – and explains why certain-era Randall amps are more sought-after than others. This amp was actually designed by Mike Fortin and was simply licensed by Randall Amplifiers for use by Hammett. While it’s true that Hammett played a superb-sounding amp that said ‘Randall’ on it, it was not actually designed by Don Randall. Image: Tim Mosenfelder / Corbis via Getty Images Kirk Hammett’s ‘Randall’ amps Kirk Hammett. According to Hetfield, Hammett also had one in the works but Arredondo passed away before it could be completed. For the recording of Ride…, Hetfield used an old Ibanez Tube Screamer to drive the JMP 2203 a little harder, trying to replicate what Arredondo’s mod had done for him.ĭuring the recording of the Black Album, Bob Rock and Hetfield both got new Arredondo-modded Marshalls. This amp would be modded by Ken Fischer of Trainwreck Amps, to allow him to bypass the preamp, but not until long after its purchase. Prior to the recording of the band’s next album, 1984’s Ride the Lightning, Hetfield bought a replacement: a brand-new Marshall JMP 2203 head. “I’m sure I wasn’t really thinking of killing myself,” he said later, “but it was my favorite Marshall amp, man!” The loss was devastating, both creatively and financially, and inspired Hetfield to write the classic track Fade to Black. Hetfield’s modded Marshall was famously stolen – along with much of Metallica’s other gear – from the band’s van while outside a venue in Boston in 1984. Learning how to write good SONGS and not 30 second Instagram clips is the new Norm unfortunately.Arredondo was famous for modding amps owned by the likes of Eddie Van Halen, Steve Vai, and George Lynch, gain-stacking them and often adding an extra preamp tube. hell many of these kids today have never even PLAYED a real amp, yet going around giving advice like they have, but it’s based on some type of simulation. A true half stack blaring at you, learning how to control a high gain amp, the feel of it etc. THAT has for sure changed, and you can’t get that feel playing to a computer and superior drummer, no matter how much I love technology nowadays, that’s a feel thing that many young generations aren’t going to experience. What I will say doesn’t happen as much anymore, is guys getting together and playing together in a room like a damn BAND. But it’s because I was new, young, brain like a sponge, and I simply had never heard anything like that or a tone like that in my life: as we get older, the nostalgia of those records etc stays with us, and we never are able to reach that again often, it’s just the way it is. I rmemever the first time I heard pantera, or in flames clayman album, which is still a pinnacle of production and writing to me, and nothing comes close to that stuff for me. This is a hard one, but it’s the truth: nothing is going to hit you like the first time you heard your favorite bands at a young age: it just won’t. Man i don’t think it’s that at all, there ar plenty of artists doing groundbreaking work with technology these days: whether or not you enjoy the music is a different question all together, but I choose not go go down the road of “back in my day”, it just hurts you as a player and your attitude towards it. Kirk almost always boosts his Marshalls and amps with a TS9 in the studio evident from all the pics of his studio setups. I know James stated in interviews he used the TS9 into the Marshall but wasn't a big fan on the grainy tone and preferred a more natural amp tone. Same studio and same producer so highly likely that its the same splitter setup to that point. The Blue cable I'm assuming is the line from the splitter box as it is pictured in the MoP studio pics later on. The TS9 isn't plugged in in the pic but the two other boxes are chained into the input. Could they be perhaps EQ or boost pedals?. Guessing from the profile and relative size compared to the Ibanez pedal, could they be some TC Elec pedals, esp being that the TC pedals were Danish origin and could make sense being used in a Danish studio. Just a question regarding the pic above that I've always wondered about, I can see that there is a TS9 and a Ibanez ST800 but what are the two other boxes on top that the signal is routed through before the amp input?
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