#1
jcm 800s?

or which ones (1980's metallica)
Gear:
Epiphone Les Paul Standard
Blackstar HT-5 Head
Homemade 1x12 from a combo cab with an Eminence PJ
Quote by ikey_
perhaps i have a superb epiphone. the japanese man must have gotten laid and won the lottery right before he made my guitar. whatever.
#3
didn't they use Mesa amps, just to get away from all the marshall lovers?
...
#4
they used marks and rectifiers on a lot of their stuff. marshall's just don't get that deep low end
- Fender, Taylor, Martin, Ibanez, Ramirez, Marshall, Boss, Morley, Mesa/Boogie, Univox, Shure, Monster, Dunlop, Seymour Duncan, DiMarzio, Lace, Sperzel, DW, Tama, Zildjian, and a little Johnnie Walker
#5
yehh but they DID use marshalls for kill em all and ride the lightning...

Quote by dgonz
they used marks and rectifiers on a lot of their stuff. marshall's just don't get that deep low end


O RLY!?

check out my profile...i beg to differ...
#6
you mean that deep low mud?

i'd assume it was an 800 or a plexi with a tubescreamer or other od pedal.
Gear:
ESP Eclipse 300
Jackson RR3
Bugera 6262 head
Trace Elliot straight cab
Boss NS-2
Boss DD-3
#7
Kirk used a Tubescreamer for his solos, nothing else...
Quote by entity0009
some retards decided it would be funny to use mental conditions as insults.
#8
yeah im talking like kill em all i thought they used marshalls

i love that thrash sound they had

im prolly gonne pick up a tubescreamer too

the vintage one is the one to get right?
Gear:
Epiphone Les Paul Standard
Blackstar HT-5 Head
Homemade 1x12 from a combo cab with an Eminence PJ
Quote by ikey_
perhaps i have a superb epiphone. the japanese man must have gotten laid and won the lottery right before he made my guitar. whatever.
#9
On Kill 'Em All they used modded Marshall 1959 SLP's with ProCo Rats into Marshall 1960BV cabinets.
On Ride The Lightning they used Marshall JTM2203's with completely scooped mids and tubescreamers into 1960B cabinets.
On Master Of Puppets I believe they used JCM800's,
Load, ReLoad and albums after that, they have used Mesas I THINK.
I BELIEVE they did this because they were bored with having to use pedals and thought that amp distortion sounded a lot better.
Quote by Pookie6
Yngwi3, You win this whole monstrosity of a thread.

Quote by uk.mace
For the best tingle, use Original Source mint. That shit feels amazing on your balls.


Godfather of The Diezel Mafia
#10
They used Marshalls in Kill Em All. In fact, they used one Marshall. The album was recorded with only one amplifier, for both, methinks. They used a modified 1959, I think.
#11
Hope this helps.. copied form wiki


James Hetfield

Amplifiers
Hetfield used a ProCo Rat distortion pedal in combination with a modified Marshall 1959 SLP amplifier and Marshall 1960B 4x12 speaker cabinet (with Celestion Vintage 30s speakers), for the 1983 album Kill 'Em All. The amplifier was stolen in Boston, Massachusetts in early 1984, which partially influenced him to write the song "Fade to Black".

For Ride the Lightning in 1984, Hetfield used an Ibanez Tube Screamer TS-9 overdrive pedal in combination with a Marshall JMP2203 amplifier, and Marshall 1960B speaker cabinets. He equalized the tone so it would have as minimal midrange frequencies as possible.

By 1985, Hetfield had grown tired of the thin artificial sound of distortion pedals, as well as the typical use of the Marshall guitar amplifier. For the recording of 1986's Master of Puppets, he and Kirk Hammett bought a Mesa/Boogie MarkIIC+ amplifier, and slaved its preamp into his Marshall amplifier, resulting in a more natural-sounding strong powerful distortion tone. He further enhanced his rhythm guitar tone with B&B/Aphex Parametric Equalizers, mixing desk equalization, and triple-tracking of every rhythm part with slightly alternating guitar settings. This complex process resulted in an aggressive, strong, rich, and sustaining thrash guitar tone with reduced midrange frequencies but sharp treble frequencies and thick low frequencies.

Hetfield used a very similar process and equipment in 1988 for the recording of ...And Justice for All. He increased the tone by using Mesa/Boogie Studio and Quad preamps into Mesa/Boogie Strategy 400 poweramps while recording dual-layered tracks. In the process, he had dialed in so much low end into his tone, as well as lower midrange frequencies, that he partially masked the sound of Jason Newsted's bass tracks.

By 1990, along with the assistance of Bob Rock, Hetfield perfected the scooped-midrange studio tone that he had been seeking since 1983. He discovered that utilizing the midrange frequencies straight from a modified Marshall amplifier, layered over guitar tracks of his trusty Mesa/Boogie MarkIIC+ as well as the Mesa/Boogie MarkIV, plus an ADA MP-1 preamp and a Mesa/Boogie Strategy 400 poweramp, he would get a much thicker and richer tone. He enhanced the frequencies by enclosing his four Marshall 1960B speaker cabinets with foam walls and U-Haul blankets, and carefully phase-canceled particular frequencies with eight closely-positioned microphones and two ambient condenser microphones.

The majority of his clean tones come from a Roland JC-120 Jazz Chorus Guitar Amplifier.

In 1995, Hetfield had altered his tone by introducing lower-midrange frequencies, via the Mesa/Boogie Triple Rectifier amplifier. He began to use the Mesa/Boogie TriAxis preamplifer and Mesa/Boogie Strategy 400 poweramp, as he would continue to use live and in the studio to the current day. He also played around with Marshall amplifiers and the "hi-fi sounding" Wizard Modern Classic amplifier. He used this setup for recording the 1996 album Load, the 1997 album ReLoad, and the 1998 cover-songs album Garage Inc.. Garage Inc. in particular is rather prominent in the use of the Wizard amp.

For the recording of 2003's St. Anger, Hetfield had altered his tone again. He used his "live rack" equipment which consists of Mesa/Boogie TriAxis preamps and Mesa/Boogie Strategy 400 poweramps, but also used Marshall amplifiers, the Wizard vintage/modern, and the Diezel VH4. The St. Anger: Rehearsals DVD which accompanies the St. Anger album, as well as Metallica's covers of The Ramones songs "Commando", "53rd & 3rd", "Cretin Hop", and "Today Your Love, Tomorrow the World", and Metallica's performance at the induction of the band Black Sabbath into the Hall of Fame, are good examples of the Diezel VH4 tone.

Hetfield is currently trialling the Krank Krankenstein and Revolution 1 amplifiers, along with his current rig of the Diezel VH4, Mesa/Boogie TriAxis preamp and Mesa/Boogie Strategy 400 poweramp, and Mesa/Boogie Triple Rectifier. He has also been seen using the Mesa/Boogie MarkIV amplifier in the studio.

*********
Kirks gear

KILL 'EM ALL

Guitars
Gibson Flying V #1
Black w/ white pickguard
2 pickups which were eventually changed to EMG 81s in 1987
2 volume controls, 1 tone, triangle layout, set neck
Was the main recording guitar for the first four albums
The neck is glued on
Can be seen: "Cliff 'Em All" inbetween "No Remorse" & "Metal Militia"
Last time used live: "Master of Puppets" gigs

Gibson Flying V #2
Red w/ white pickguard
1 Seymore Duncan pickup, the other pickup was taped over
2 volume controls, 1 tone, straight line layout, set neck
Can be seen: Is an infamous picture of Lars holding 2 V's while getting
hit with a sledgehammer.
Last time used live: "Kill 'Em All" gigs

Fernandes Flying V
Black w/ white pickguard
1 bridge pickup, set neck
1 volume control, 1 tone
Can be seen: "Cliff 'Em All" - ("No Remorse")
Last time used live: "Kill 'Em All" gigs

Amps
Marshall 2-100 watt head and 4x12 cabinets
he also used James Hetfield's modified Marshall amp
Effects

Boss distortion pedal


--------------------------------------------------------------------------------


RIDE THE LIGHTNING

Guitars

Jackson Randy Rhodes Custom
Black, EMG 81 humbucker
Neck-through body, string through body (no stop bar, only
tune-o-matic)
Kirk picked this guitar up at the Jackson factory while they were on tour. The guitar was just finished. In fact, he had to wait 2 hours for the glue on the nut to dry and for the guitar to be setup and strung!
After the "... And Justice For All" tour, the guitar became mostly a D-tuned guitar
Can be seen: Cliff 'Em All - (Creeping Death),
and Live ****: San Diego- (Sad But True)
Still used live

Fernandes Stratocaster #1
Black w/ white pickguard
3 single coil pickups (lace sensors?), Bolt-on neck, Floyd Rose trem
1 volume control, 2 tone
Unknown graphic below trem
Can be seen: "Cliff 'Em All" - ("The Four Horsemen")
Last time used live: "Master of Puppets" gigs

Amps
Marshall 100 watt head and 4x12 cabinets


--------------------------------------------------------------------------------


MASTER OF PUPPETS

Guitars
Same as on previous albums

Amps
Mesa-Boogie Mark 2C amp (re-wired as a pre-amp)
Marshall 100 watt power amp
Marshall 4x12 cabinets


--------------------------------------------------------------------------------


GARAGE DAYS RE-REVISITED
Guitars

Same as on previous albums

Amps
Same as on Master of Puppets


--------------------------------------------------------------------------------


... AND JUSTICE FOR ALL

Guitars
ESP M-II #1 "Skull and Crossbone"
Black, 2x EMG 81 humbuckers
Skull and Crossbone inlays, reverse headstock
Pushead skull sticker on body
This guitar was Kirk's original ESP MII. The headstock is slightly different than his following ESPs, the flat part is on the side of the headstock on this guitar, while the following ones are flat at the top of the headstock. Also, the skull inlays on this first ESP are oriented differently than his other one. The skulls are up and down when the guitar is in its stand, and his second one the skulls are up and down when the guitar is actually being played.
This guitar now resides at the Rock and Roll Hall of Fame in Cleveland Ohio.
Can be seen: "Live ****: Seattle" - ("The Four Horsemen")
Only used live: "...And Justice For All" gigs

Gibson Les Paul Custom
Black, white binding on body, tune-o-matic bridge
2x EMG 81 humbuckers, gold hardware
2 volume, 2 tone
Can be seen: "Live ****: Seattle" - ("Welcome Home (Sanitarium)"),
"Cunning Stunts" - ("Guitar/Bass doodle")
Still used live

Tom Anderson ProAM (x2)
Ash, Basswood body and Floyd Rose bridge
The neck and middle pickup are ultrasonic stacked single coils and the bridge is a Tom Anderson H3. This one has a Floyd with a switcheroo switching system. The finish is a black & white bowling ball. The neck is maple/ Pau Ferro and has TA standard back shape with a 1 11/16" nut width EMG 81(neck), Anderson single coil pickups (during "Justice" tours)
For recording "Metallica" and "Black" tours: EMG 81(neck), EMG-S single coil pickups
Bolt-on neck, dot inlays
Can be seen: "Live ****: Seattle" - ("Seek and Destroy")
Last time used live: "Black Album" gigs

Jackson Soloist
Red w/ black pickguard
1x EMG 81, 2x single coil pickups
Floyd Rose bridge, bolt on neck
Can be seen: "Live ****: Seattle" - ("The Thing That Should Not Be")

Amps
Mesa-Boogie power-amp
Mesa-Boogie '88 preamp
#12
Quote by Yngwi3
On Kill 'Em All they used modded Marshall 1959 SLP's with ProCo Rats into Marshall 1960BV cabinets.
On Ride The Lightning they used Marshall JTM2203's with completely scooped mids and tubescreamers into 1960B cabinets.
On Master Of Puppets I believe they used JCM800's,
Load, ReLoad and albums after that, they have used Mesas I THINK.
I BELIEVE they did this because they were bored with having to use pedals and thought that amp distortion sounded a lot better.


Nah on master of puppets they used Mesa boogie mark II c+

but the rest is right except after and justice they started using MANY different amps.
From diezels to marshalls to mesas to framus

Anything
#13
Quote by Sora 01
Nah on master of puppets they used Mesa boogie mark II c+
but the rest is right except after and justice they started using MANY different amps.
From diezels to marshalls to mesas to framus
Anything

Ah right ok.
Yeah, I didn't fancy listing ALL their amps they've used I would have been there all day
Hmm...I'm pretty sure you could get a pretty convincing MoP tone out of a Jcm800 though
Quote by Pookie6
Yngwi3, You win this whole monstrosity of a thread.

Quote by uk.mace
For the best tingle, use Original Source mint. That shit feels amazing on your balls.


Godfather of The Diezel Mafia
#14
Yea i used to know a site were the guy had pictures of all there gear from backstage for each album but i cant find the site. That was about as acurate as i could come up with in short notice...
#15
Its hard to tell what amps they used from And Justice For all.. to get that sound because quiet alot of layering was going on. Actually, a **** load of layering..

But earlier stuff, Marshall/Mesa would get you close.
#17
on kill em all they used hotrodded marshall amps pushed with proco rats.

rtl was basically the same figure, only their amps got stollen or some **** and they got new marshalls (jcm800?) and really scooped them up.

for mop they used mesa mark 2C+ slaved into the marshalls from rtl

and justice for all is pure mesa mark 2C+ tone and from there on (89 live) they started using rackmounted stuff like triaxis or other preamps into marshall poweramps (james) and mesa poweramps (kirk).
#20
Quote by 311ZOSOVHJH
What's a 'Mesa Marshall JMP'?


Studio
Mesa Boogie Mark IIc+
Mesa Marshall JMP Heads


Old Plexi style heads, but he was probably using the JVM 2203 which is very similar to a JCM800 2203.
#22
kill them all = 100 watt superlead plexis + Rat Distortion Pedal
Ride the lightning = 100 watt superlead plexies + idk pedal
Gear:
2000 Paul Reed Smith CE-24
ESP EC-1000 w/ Seymour Duncans
Ceriatone 18 Watt TMB Plexi 1x12
Peavey 5150 2x12 Combo