Hammett remains big daddy to the Mummy, one of his favorite instruments. It also evokes his love of classic horror films.
Like his tone and fire-breathing technique, Kirk Hammett’s guitar collection is legendary. It’s also in motion–and not just in the sense that guitars come in and out of Hammett’s flotilla. He is keenly aware of all its core instruments and plays them in the studio and onstage when the occasion beckons.
For Hammett, having an armada of amazing vintage guitars at his convenience is a dream come true–as it would be for any of us. “When I first started playing, I would go to the guitar store and all the vintage stuff was on the very top racks where you needed a ladder to get to them,” he relates from his home in Hawaii. “I would stare up at these guitars that were literally untouchable and unattainable, but right in front of me. And I remember seeing a korina Flying V and thinking, ‘My god, that’s the most beautiful V’ … thinking ‘it’s so different from modern Vs, and it has so much class.’ Then, when I got my first korina V … I was so happy. I brought it down to the studio while we were recording Reload, and I said to [producer] Bob Rock, ‘I have to put this on a track.’ He goes, ‘Okay, plug it in.’ And it’s on ‘Fixxxer.’”
More stories, and more photos of historic guitars, pack the new book The Collection: Kirk Hammett, from Gibson Publishing. The 400-page volume comes in three configurations. The 300 copies of the autographed custom edition ($799) check in at 19" x 14 1/2" and come in a case, with a portrait of Hammett signed by the guitarist and photographer Ross Halfin, plus a mini replica of Hammett’s beloved 1979 Flying V, a tin with six of Hammett’s signature Dunlop picks, and a certificate of authenticity. The deluxe edition ($299) has a run of 1,500 autographed copies and comes in a slipcase with Greeny–Peter Green’s legendary Les Paul–on the cover and a certificate of authenticity. And the standard edition ($149) will have greater availability.I asked Hammett if he knew how many guitars were in his collection. “I don’t like counting,” he replied. That roughly translates into a lot! But he noted, “I have a core collection that’s about 35, 40 guitars that I play pretty regularly, and most of them are vintage and I just love them for whatever little discrepancy or uniqueness or customization they have. Then there’s a whole host of guitars I own because I needed them to play certain songs on tour, and people have a tendency to give me guitars, which I always thought was frustrating. I can’t say, ‘No, I can’t take your guitar,’ because sometimes that is more insulting than anything else to a person. So over the years I’ve acquired guitars that I just don’t use. I’ve gotten rid of a lot of guitars anonymously, so there’s a lot of guitars out there in the market that I used to own that people don’t know I owned, and I love that.”
And now, it’s time for the Big Three. I asked Kirk which guitars in his collection are not the most famous or valuable, but closest to his heart.
1979 Gibson Flying V
Kirk’s 1979 Flying V with his signature EMG pickups installed. “That guitar that enabled me to flesh out the elements of my style of playing,” he says.
Photo courtesy of The Collection: Kirk Hammett, Gibson Publishing
“My 1979 black Flying V, that I’ve had ever since I was 16 or 17, is obviously very close to my heart,” he says. “Some of the very first heavy riffs I ever wrote, I wrote on that guitar, like the ‘die by my hand’ part of ‘Creeping Death.’ That came out of that guitar. I was sitting there when I was 17 years old in high school, and that riff came out, and I was thinking, ‘That doesn't sound like anything that’s on FM radio right now. And I love it.’ And it was that guitar that enabled me to flesh out the elements of my style of playing. And so that guitar will always be very, very close to me.”
The Mummy
Hammett remains big daddy to the Mummy, one of his favorite instruments. It also evokes his love of classic horror films.
Photo courtesy of The Collection: Kirk Hammett, Gibson Publishing
“The Mummy guitar is very close to me, too, because when I got that guitar in 1995 or 1996, man, it was a triple threat. It looked fantastic, it played fantastic, and it sounded fantastic,” observes Hammett. The guitar also features a legend taken from the poster for the 1932 film The Mummy, featuring Boris Karloff, reading, “It comes to life!” And indeed the 6-string did.
“I was like, ‘Okay. I think I have an extraordinary guitar in my hands right now.’ And I use the Mummy guitar just as much as I use Greeny in the studio.”
Greeny
Kirk Hammett with the guitar he calls his Excalibur, Greeny, which was formerly owned by both Peter Green and Gary Moore. “All I have to do is sit there with Greeny in my lap and the music comes,” he says.
Photo courtesy of The Collection: Kirk Hammett, Gibson Publishing
So, what was it like for Hammett to have Greeny, which he purchased in 2014 after it was used by legends Peter Green and Gary Moore on a host of historic recordings, in his hands for the first time?
“It was confusion,” he offers, “because I knew that a bunch of major players had played Greeny and passed on it. And a couple of those major players were James Hetfield and Joe Bonamassa–people that I know love Gibson Les Paul Standards as much as I do, but for some reason or another, they passed on it. I was confused by that because when I played Greeny, within the first minute I was like, ‘Oh my god, I think this is the guitar I’ve always been looking for,‘ because it had so much mojo and so much tone and such a unique sound, and, of course, the history of it was not lost on me either. I thought, ‘Why hasn’t anyone else bought this guitar? I’m buying it.’ I told the guy who was selling it, ‘You're not getting this guitar back. Let’s work out a deal. I’m going to hold onto it forever.’ I feel like I didn’t choose Greeny; Greeny chose me, and it’s my Excalibur.“
It’s had such a big impact on me, and I wasn’t expecting it. All I have to do is sit there with Greeny in my lap and the music comes. It is a beautiful, wonderful thing. I used to have to really work hard at composing music and making music parts fit, but not anymore. With Greeny, stuff just comes to me spontaneously, and if it doesn’t work, I just move on, because more stuff comes.
“It had a large, large, large part in helping me recognize the power of inspiration in myself. It had played the most amazing songs and the most amazing shows before me. So to have it in my hands it’s like, I don’t want to say a separate entity, but almost like a freaking partner in music. I’m so thankful, and so lucky.”
On Creating the Book
“It was my idea to do the book,” Kirk explains. “I’ve been wanting to do a guitar book, because I did a book about my horror movie poster collection about 10 years ago. And man, that was so much freaking work, but it was worth it. And it opened up a whole range of opportunities I never thought or I could never see coming. I'm hoping that the same thing happens with this book. I have no idea what those opportunities are, but I'm hoping that they're great musical opportunities.
“I hope this book inspires people to just go out and look in pawn shops; go over to their grandmother’s house, look under the bed and in the closet; look into the attic. Because there’s a lot of vintage guitars still out there that have not been found. I mean, when you think about the production of electric guitars, how many were produced from 1952 on, of all models? That’s a shitload of guitars that absolutely have not been accounted for in the vintage market. You just got to do the hard work and be lucky as fuck. Things can be found.”
Hammett feels the book not only echoes the inspiration and passion he has for guitars, but also for his adopted home of Hawaii. “These guitars are beautiful. They’re unique. Some of them are one of a kind, and I love that. They are also the tools that are in my toolbox. But this book is also a love letter to Hawaii. It’s the place where I love to be with my guitars–a beautiful backdrop to these wonderful guitars.” In fact, the Hawaiian landscape is often the setting in which Halfin photographed Hammett and his collection. Ross and I didn’t want this to look like a catalog or your average coffee table book that you would see in a doctor’s office or a hotel lobby or something. We wanted the approach to be a little bit more homegrown. And for me, I like being outdoors all the time. I might go inside to sleep at night, but usually from the time I get up, even at night, I’m just outside. The landscape and sky and ocean here is always gorgeous and always changing.”
The Sequel
Hammett mentions that another guitar tome might be on the horizon. “I have at least three or four essential guitars that didn’t make it into this book,” he says. “They need to make it into a second book, just as relevant, just as rare, just as unique. And people have not seen them. I have a Les Paul that’s so rare–a Mickey Baker Les Paul I’d been seeking for 10 years. In 1956 or 1957, Mickey Baker, the jazz session guy who had a big hit with ‘Love Is Strange’ … Gibson wanted to make him a Mickey Baker model. They made less than 10 prototypes and never put them out, because Mickey never liked any of ’em. They’re unique because they have three pickups and instead of four knobs, there are three–all master volumes. At the top where the pickup selector is, is another knob and it’s a master tone. People need to see that guitar! It has not quite the aggression and attack that Greeny has, but the fullness and the freaking kick and the punch.”
There’s also a custom-color ’57 goldtop and other rarities that didn’t make The Collection, but there’s plenty of eye candy in the current book. Provided, of course, you’re interested in a ’52 goldtop, a ’58 sunburst Les Paul, a korina V prototype, a ’60 TV Special, the ESP KH-1 Joker, and other gems.
“I’m a caretaker for these guitars, and especially for Greeny,” Hammett says. “At some point, it’ll be time to redistribute these magical instruments. Guitars are invincible. Look at guitars from the ’50s. They’re holding up and playing better than ever. Guitars were made to last forever. They don’t break down like cars. They don’t degrade like artwork. Maybe they do, but the upkeep is easy and you can interact with them. Greeny, especially, is like a magic wand. I feel very, very lucky, and I hope that I play Greeny for a nice length of time.”
Grammy Award-winning artist Warren Haynes is a cornerstone of the American music landscape, lauded as one of the most formidable and prolific guitarists, vocalists, songwriters, and producers of the modern era. Gibson is proud to announce its partnership with Warren Haynes for the release of his first signature guitar, the Gibson Warren Haynes Les Paul Standard. The Warren Haynes Les Paul Standard from Gibson is available worldwide now at the Gibson Garage Nashville and London, at authorized Gibson dealers, and on Gibson.com.
“I’ve always been a Gibson guy—I got hooked on that sound as a teenager and have been playing them ever since,” says Warren Haynes. “Needless to say, I’m honored to be partnering with Gibson to release my Signature Les Paul Standard. Being traditionally a humbucker guy, I’m really loving the hum-free P-90s. It’s a really cool tonal change, and the boost offers even more tonal options. I’m really enjoying playing this guitar on stage and looking forward to using it in the studio. I’m equally psyched that other guitar players will now have the opportunity to own and play one as well.”
Warren Haynes effortlessly cross-pollinates genres and unfurls solos that broil with passion in his distinctive, signature playing style. Renowned and highly regarded for his work in rock, blues, and Americana music through his work with the Allman Brothers Band, as a founding member of Gov’t Mule, the leader of The Warren Haynes Band, a solo artist, and as a session guitarist and sideman for numerous famous friends and groups. As one of music’s most treasured storytellers, Haynes and his artistry have led to thousands of memorable performances and millions of album and track sales. A master of multiple styles and genres, Warren has also shared his expertise with other players via multiple instructional videos. A self-described “Gibson man,” Warren has used several Gibson models throughout the years, including his cherished ’61 ES-335™, among others.
The new Warren Haynes Les Paul Standard is another standout, with features tailored specifically to Warren’s preferences, including a mahogany body with a plain maple cap, a 60s Cherry finish, a mahogany neck with a chunky 50s vintage profile like all of Warren’s favorite Les Pauls, a rosewood fretboard with acrylic trapezoid inlays and 22 medium jumbo frets, a pair of P-90 DC pickups that deliver hum-free performance with all the sonic nuances of traditional P-90 DC pickups, and a 15 dB boost that can be activated via a mini toggle switch. The quick-access battery compartment is mounted into the control cover on the rear, and the guitar will still function, even if the battery dies, by simply flipping the mini toggle switch to the off position.
Bearing the traditional looks and feel of a 50s-era Les Paul coupled with modern features like hum-free P-90 DC pickups and an onboard boost, the Warren Haynes Les Paul Standard bridges modern and traditional and is a great choice for players who, like Warren, want both a traditional appearance and modern functionality in one outstanding guitar.
Last fall, Warren Haynes released his fourth solo album, Million Voices Whisper, via Fantasy Records. Haynes sounds as energetic and focused as ever on the self-produced album, powering through an 11-song set of soulful blues-rock, his first solo collection in nearly a decade. Accompanying Warren on the collection are members of his current all-star band, including John Medeski on keyboards, longtime drummer Terence Higgins (of the Dirty Dozen Brass Band), and Gov’t Mule bassist Kevin Scott. Million Voices Whisper also features guest appearances from his Allman Brothers Band compatriot Derek Trucks, whose unmistakable guitar sound toughs up three tracks on the album that were co-produced with Haynes, and his Last Waltz tour co-stars Lukas Nelson and Jamey Johnson, who are featured on the forceful “Day Of Reckoning.” Joining Haynes in the studio for the first time since the final sunset of the ABB, one of the featured tracks with Trucks on guitar is “Real Real Love,” a song initially co-written with Gregg Allman that Warren finished in Allman’s style and methods as if Gregg were singing it to honor his friend.
Buzzing through the chart-topping album is the question of how to make things better—in love, in life, in the world—led by Haynes’s soaring vocals and the poignancy of his six-string mastery. Million Voices Whisper opens with “These Changes,” a co-write with Trucks, leading into “Go Down Swinging,” co-written with Johnson, which features a horn section and a Van Morrison vibe. Then, there’s the soulful power ballad “Till The Sun Comes Shining Through,” driven by Warren’s impassioned vocals and slide guitar skills. The expressive pipes of touring backup singer Saundra Williams are also heard on multiple tracks, including the lead single “This Life As We Know It,” which reached Top 15 on the Americana singles chart and Top 40 at Triple A radio. Among the four bonus tracks on the deluxe CD version is a new version of the Trucks-Haynes composition “Back Where I Started” featuring Warren on lead vocals and slide guitar and the power trio of Haynes, Nelson, and Johnson covering the CSNY classic “Find The Cost Of Freedom” into an extended version of “Day Of Reckoning.” Million Voices Whisper combines the eloquent musicianship of a triple-threat blues-rocker with the glowing spirit of a vital creative artist at the peak of his powers.
For more information, please visit gibson.com.
Gibson Warren Haynes Les Paul Standard Electric Guitar - '60s Cherry
Note the cavity cover on the back, which houses the components of Andy Summers’ mid-boost system.
In general, you can use any Telecaster and convert it to Andy Summers’ specs. If you want to stay as close as possible to the original guitar, the way to go is an alder body—just like Andy’s, which is 2-piece—with a 3-tone sunburst finish and white double binding.
The neck should be quarter-sawn, 1-piece maple with a C profile, 21 vintage-style frets, and a 7.25" fretboard radius. Of course, you can choose your own specs here, too. The original guitar has a brass nut rather than bone or plastic, and it should be no problem to find a brass nut blank for a Telecaster. You will need different tools to work on it compared to bone, plastic, or graphite, so keep this in mind. If you do not have the right tools or don’t feel comfortable making nuts, you should leave this task to your local guitar tech. Summers’ guitar has Schaller M6 tuning machines, which are still available from the German Schaller company, and two chrome butterfly string trees. You may not really need two of them—usually one for the B and the high E string will do the trick, especially with a well-made nut.
The original has a heavy brass bridge plate with six individual brass saddles, which will increase overall weight significantly. You can still buy this type of brass bridge from several companies, but there are much lighter bridges on the market.
The stereo output jack is installed in a rectangular chrome plate, like on a Les Paul, which I think is superior to the typical Telecaster jack cup. Interestingly, the plate on Summers’ guitar is only held by two of four screws, but do yourself a favor and use all four to make this spot as strong as possible. You should attach the plate really tight, especially when you use an output jack with a tight grip for the plug.
“Electronically, there is nothing too specialized that you will need for the controls.”
The rest of the hardware is chrome and standard: two regular strap buttons, a standard Telecaster control plate, ’60s Telecaster flat-top knobs, a black ’60s-style top-hat switch knob on the 3-way pickup selector switch, and two flat-lever mini-toggle switches. You should have no problem getting all of these parts from any guitar shop. The pickguard is a 3-ply mint green pickguard with a standard humbucker routing for the neck pickup.
Electronically, there is nothing too specialized that you will need for the controls: a standard 3-way pickup selector switch, two 250k audio pots for master volume and master tone, a gain control pot for the booster, and two additional mini DPDT on-on toggle switches for switching the booster on and off and for the phase control of the bridge pickup. The resistance of the gain control pot depends on the booster you want to use: e.g. for the Fender Clapton mid-boost kit, a 500k type will work great.
For the bridge pickup, there is a standard early-’60s-style Telecaster single-coil pickup, and every pickup company will have something like this in their catalog. Because the bridge pickup is installed to an out-of-phase mini-toggle switch, your pickup will need three conductors, with the metal base plate separated from the pickup’s common ground, and a third wire that connects the bridge plate individually to ground. If you have a regular two-conductor model, you need to break this connection, soldering a third wire directly to the base plate.
Interestingly, the bridge pickup on Summers’ Tele is installed directly into the wood of the pickup’s cavity. I see no reason why you shouldn’t install it the regular way on your guitar.
Here’s a close-up of the bridge on Summers’ historic Tele.
Photo courtesy of Ten-Guitars (https://ten-guitars.de)
In the neck position, there is a ’59 PAF humbucker with a conventional two-conductor wiring installed directly into the pickguard in the standard way, with the open pole pieces facing towards the neck. The choice of late-’50s PAF copies has never been better than it is today. You can buy excellent versions from a lot of companies, just make sure to choose the correct string spacing, which is usually called “F-spacing” or something similar, and is usually 2.070" (52.6 mm). (Gibson spacing, or G-spacing, is 1.930" or 49 mm.)
You’ll need humbucker routing on your body to make it fit. If you don’t have a body with humbucker routing and don’t want to get your Tele body re-routed, you can consider one of the numerous stacked humbuckers that will fit into a standard Telecaster neck pickup cavity. My experience is that there is a noticeable difference in tone compared to a full-sized humbucker, and it will be a compromise.
Next is the active booster. Finding a good booster module and wiring it up is much easier than fitting it into the tight space of a Telecaster body. There are a wide range of available booster options. There are complete DIY sets available that include the PCB and all of the necessary parts to build your own, and there are also drop-in PCBs that are already populated, like the well-known Fender mid-boost circuit kit. You can also find mini-sized booster modules using high-quality SMD parts, which only require a fraction of space compared to the regular PCBs.
“Finding a good booster module and wiring it up is much easier than fitting it into the tight space of a Telecaster body.”
The available options include treble boosters, mid-boost circuits, full-range boosters, etc. Choose what you like best. The problem will be that you need to stuff it into a Telecaster body. As you know, there is not much space inside a Telecaster, and you need to add the booster itself, the 9V battery, an additional pot for controlling the booster, and two additional mini-toggle switches—one for turning the booster on and off, and the other to get the bridge pickup out of phase. This is a lot of stuff! On Summers’ guitar, this problem was solved by adding a large cavity on the back and closing it with a plastic back plate, as on a Gibson Les Paul.
A look inside the cavity for the mid-boost unit.
Photo courtesy of TeleManDon from Vancouver Island, BC (https://tdpri.com)
You can clearly see the two big routings for the booster’s PCB and the 9V battery, plus the additional pot to control the amount of boost as well as the mini-toggle switch to turn the booster on and off. If you are not afraid of routing two big chambers into your Telecaster’s body, this is a suitable way to go.
On a Telecaster, there are not many alternatives I can think of to fit all these parts. One possible way of saving space would be to use a stacked pot with two 250k pots for volume and tone, so you have the second hole in the control plate available for the gain control pot of the booster. Between the two pots, it should be no problem to place the two mini-toggle switches. Or you use a push-pull pot for the gain control to save one of the mini-toggle switches. The guitar will look much cleaner, at least from the front side. But you still have to put the booster PCB and the battery somewhere. A customer of mine did this by completely routing the area under the pickguard. But even with only a regular single-coil neck pickup, it was a really tight fit, so with a regular-sized humbucker, it will be close to impossible. So, you or your luthier will have to be creative, and I wouldn’t be surprised if a company offers Andy Summers Telecaster bodies with all chambers already routed.
Here we go for the wiring. Wherever possible, I tried to keep the diagram as clean as possible. The wiring of the booster is only an example and depends on the booster you want to use, but the basic wiring is always the same.
Here’s a helpful schmatic of the Andy Summers‘ Telecaster wiring.
Illustration courtesy of SINGLECOIL (www.singlecoil.com)
That’s it. Next month, we will take a deep look into guitar cables and wires, what really makes a difference, and how you can use this to reshape your guitar tone. So stay tuned!
Until then ... keep on modding!
