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As Metallica’s lead guitarist for over 40 years, Kirk Hammett has assembled one of the most impressive and valuable guitar collections in rock history. From vintage Gibson Flying Vs to custom ESP signature models adorned with horror movie graphics, his gear journey spans the entire evolution of modern metal music.
Kirk Hammett owns over 150 guitars worth millions of dollars, with his collection spanning vintage Gibsons from the 1950s through modern ESP signature models and custom shop creations.
This comprehensive guide covers every aspect of Kirk’s gear – the guitars, amplifiers, effects pedals, and accessories that have created Metallica’s iconic lead guitar sound. We’ll explore how his setup evolved from the early thrash metal days through his current touring rig, with detailed insights into the stories behind his most prized instruments.
You’ll discover not just what gear he uses, but why he chose it, how it shaped Metallica’s sound, and how you can achieve similar tones – whether with authentic signature models or budget-friendly alternatives. As successful rock guitarists go, Kirk’s influence on both music and gear is undeniable.
Before joining Metallica in 1983, Kirk Hammett played with the Bay Area thrash band Exodus, using gear typical of the early 1980s metal scene. His setup was simple but effective – a 1974 Gibson Flying V with a DiMarzio Super Distortion pickup, pushing a Marshall JCM800 half-stack. This basic but powerful combination gave him the aggressive tone needed for thrash metal’s nascent sound.
When Kirk recorded his first album with Metallica, Kill ‘Em All, he primarily used that same Flying V through a modified Marshall amplifier. The album’s raw, trebly guitar sound became the template for early thrash metal, with Kirk’s leads cutting through the mix with surgical precision. Unlike his later complex setups, this early rig was remarkably straightforward – guitar, cord, amp, with minimal effects processing.
What guitar did Kirk Hammett use on Master of Puppets? For this 1986 masterpiece, Kirk had evolved his setup considerably. He still favored Gibson models – primarily a 1974 Flying V and a black Les Paul Custom – but now ran them through Mesa Boogie amplifiers for the first time. This marked a significant tonal shift from the raw Marshall sound of earlier albums, introducing the thick, saturated distortion that would define Metallica’s mid-period tone.
The Master of Puppets era also saw Kirk begin experimenting with rack effects, particularly for studio work. While his live setup remained relatively simple, he started using digital delays and processors in the studio to create the layered guitar textures heard on tracks like “Welcome Home (Sanitarium)” and “Orion.” This period marked the beginning of Kirk’s journey toward the complex rig he would eventually develop.
Kirk’s relationship with ESP Guitars began in the mid-1980s and has become one of the longest-running endorsement deals in metal music. ESP initially provided custom-built guitars based on Kirk’s specifications, but these proved so popular that they evolved into signature models available to the public. The ESP KH-2 M-II, introduced in 1987, became Kirk’s primary stage guitar and remains the foundation of his signature line today.
The KH-2 features an alder body with maple neck-through construction, 24-fret ebony fretboard with skull inlays, and EMG 81/60 active pickups. Kirk prefers this configuration for its sustain, playability, and aggressive tone – perfect for Metallica’s style. The Floyd Rose locking tremolo allows for the extreme dive bombs and whammy bar techniques that have become part of Kirk’s signature lead style.
What truly sets Kirk’s ESP collection apart are the custom graphics, many inspired by classic horror movies. The famous “Mummy” guitar, featuring artwork from Boris Karloff’s 1932 film The Mummy, has become one of metal’s most iconic instruments. Similarly, his “Ouija” guitar features a spirit board design, while the “White Zombie” guitar pays homage to the 1932 horror film starring Bela Lugosi. These graphics aren’t just decorative – they represent Kirk’s lifelong passion for horror cinema and add visual spectacle to Metallica’s live performances.
ESP has released numerous variations of these graphics as limited edition models, though the original custom guitars remain part of Kirk’s personal collection. The company has also created more subdued versions like the “Greenburst” KH-2 for players who want the KH-2’s playability without the elaborate graphics. For best metal guitars designed specifically for Metallica’s style, the ESP KH-2 remains the gold standard.
In recent years, ESP has expanded Kirk’s signature line to include more affordable models through their LTD brand. The LTD KH-602 and KH-202 offer many of the KH-2’s features at lower price points, making Kirk’s signature sound accessible to players with smaller budgets. While these production models may not have the same premium materials as the custom shop versions, they still capture the essence of Kirk’s tone and playability.
Beyond his modern ESP signature models, Kirk Hammett has assembled one of the world’s most impressive collections of vintage Gibson guitars. These instruments represent not just significant financial investments, but pieces of rock history – many were previously owned and played by guitar legends who influenced Kirk’s playing.
The crown jewel of Kirk’s collection is undoubtedly his 1959 Gibson Les Paul Standard, known as “Greeny” for its distinctive faded greenish finish. This particular guitar has an extraordinary provenance – it was previously owned by Peter Green of Fleetwood Mac, then by Gary Moore of Thin Lizzy, before Kirk acquired it in 2014 for approximately $2 million. Greeny is considered one of the most valuable electric guitars in the world, not just for its rarity but for the unique magnetic properties of its pickups, which give it an instantly recognizable tone.
Kirk’s vintage Flying V collection is equally impressive. His 1974 Gibson Flying V (serial number 72458048) has been his primary V model throughout his career and was used extensively on Metallica’s classic albums. More recently, he acquired a rare 1958 Gibson Flying V – one of only 98 made that year – which represents both a significant investment and a piece of rock history. These early V models, with their korina bodies and powerful PAF pickups, have a unique tonal character that modern reproductions struggle to replicate.
The collection also includes numerous Gibson Les Paul Customs from the 1950s and 1960s, particularly in black finish with gold hardware – Kirk’s preferred configuration. These guitars feature the classic Seymour Duncan pickups that Kirk often uses when recording, providing a warmer, more vintage-appropriate tone than the active EMGs in his ESP models. The contrast between these vintage instruments and Kirk’s modern signature guitars illustrates his appreciation for both classic tone and modern playability.
What’s particularly notable about Kirk’s vintage collection is that these aren’t just display pieces – he actually plays them, both in the studio and occasionally on stage. This practical approach to collecting reflects Kirk’s identity first and foremost as a player rather than merely a collector. Each guitar in his collection has been chosen for its unique voice and contribution to his overall sound palette.
Kirk’s amplifier choices have evolved significantly throughout his career, reflecting changing musical styles and advancing technology. In the early Metallica years, Marshall amplifiers dominated his rig – particularly the JCM800 2203 model, known for its aggressive midrange and tight low end. These amps provided the raw, immediate tone that defined early thrash metal, with minimal processing between guitar and amplifier.
The transition to Mesa Boogie amplifiers began around the Master of Puppets era and was complete by the time of …And Justice for All. The Mesa Boogie Mark Series amps, particularly the Mark IIC+ and later the Mark IV, offered more gain and tonal flexibility than the Marshalls. This allowed Kirk to achieve the saturated, harmonically rich lead tones that characterized Metallica’s late-1980s sound while still maintaining clarity and note definition.
For the Black Album and subsequent records, Kirk adopted the Mesa Boogie Dual Rectifier as his primary amplifier. This model became synonymous with 1990s metal tone, offering massive low end, smooth gain, and exceptional note clarity even under extreme distortion settings. The Dual Rectifier’s tight response and punchy character perfectly suited the more groove-oriented approach Metallica explored during this period.
In recent years, Kirk has diversified his amplifier setup, incorporating multiple heads into his touring rig. While Mesa Boogie remains his primary choice (particularly the Dual Rectifier and newer Mark V models), he also uses Randall amplifiers for certain tones and has experimented with digital modeling solutions for practice situations. This multi-amp approach allows him to select the perfect amplifier for each song’s specific requirements rather than compromising with a single “do-it-all” amplifier.
When playing live, Kirk typically runs multiple amplifier heads simultaneously, blending their outputs for a composite tone. This technique allows him to combine the best characteristics of different amplifiers – perhaps using a Dual Rectifier for its heavy rhythm tones while a Mark V provides his lead sounds. The complexity of this setup requires sophisticated switching systems but gives Kirk unprecedented tonal versatility in live performance situations.
While Kirk’s guitar and amplifier choices form the foundation of his tone, effects pedals provide the essential seasoning that makes his sound instantly recognizable. His pedalboard has evolved from simple beginnings to a sophisticated setup that serves both practical and creative functions.
The most essential element of Kirk’s effects chain is his wah pedal. For decades, he used a standard Dunlop Cry Baby, but in recent years he collaborated with Dunlop to create the Kirk Hammett Signature Wah pedal. This pedal is based on the vintage Cry Baby circuit but with modifications tailored to Kirk’s preferences – a wider frequency sweep, boost function, and true bypass switching. The wah appears frequently in Metallica’s music, adding expressive movement to both rhythm parts and lead passages.
For overdrive and distortion, Kirk relies primarily on an Ibanez Tube Screamer TS-9. This classic pedal isn’t used as a distortion source but rather to push his already-overdriven tube amplifiers into further saturation. The Tube Screamer adds midrange emphasis and smooth compression to Kirk’s lead tones, helping them cut through dense mixes while maintaining musicality. He typically sets the drive low and uses the level control to boost the signal into his amplifier’s input stage.
Time-based effects include a DigiTech Whammy pedal for pitch-shifting effects and various delay units. The Whammy pedal appears on numerous Metallica tracks, creating octave harmonies and glissando effects that have become part of Kirk’s signature sound. For delay, he uses both rack-mounted units and pedal-based solutions depending on the application – short delays for ambience and longer delays for dramatic echo effects.
More recently, Kirk has incorporated modulation effects like chorus and phase shifting into his setup, particularly for live performance. These effects add movement and dimension to his clean tones and create psychedelic textures during solo passages. Unlike many contemporary metal players who heavily process their sound, Kirk generally uses effects sparingly, preferring to let his natural guitar tone shine through with subtle enhancement rather than heavy modification.
One aspect that sets Kirk apart from many metal players is his willingness to use effects creatively rather than simply as tone-shaping tools. His approach to effects serves the song first and foremost, with each pedal chosen for its specific contribution to the overall musical picture rather than for technical reasons alone.
Kirk’s current touring setup represents the culmination of four decades of gear experimentation and refinement. While the specific components may change between tours, the fundamental philosophy remains consistent: multiple redundant systems configured for maximum reliability and tonal versatility.
On recent tours, Kirk typically uses between 12-15 guitars on stage, primarily ESP KH-2 models in various graphic finishes along with selected vintage pieces. Each guitar is set up identically with EMG 81/60 pickups and Floyd Rose tremolos, ensuring consistent playability and tone regardless of which instrument he selects for a particular song. The guitars are maintained by dedicated technicians who keep them perfectly in tune and ready for immediate deployment.
The amplifier setup typically includes multiple Mesa Boogie heads – usually a combination of Dual Rectifiers and Mark V models – running into matching 4×12 cabinets loaded with Celestion Vintage 30 speakers. These are arranged in stereo configurations with multiple cabinets distributed across the stage for optimal sound distribution. Kirk uses multiple amplifiers simultaneously, blending their outputs to create a composite tone that combines the best characteristics of each model.
Effects switching is handled by a custom-designed rack system that allows instantaneous changes between different pedal configurations. This system is essential for Metallica’s complex live show, where songs may require drastically different tones with minimal transition time. The switching system is programmable and can recall complete signal chain configurations with a single footswitch press.
Recent updates to Kirk’s rig include more extensive use of wireless systems for freedom of movement on stage, improved isolation transformers to reduce noise, and backup systems that can be activated immediately if any component fails. These practical considerations reflect the demands of playing stadiums and arenas where technical failures are simply not options.
It’s worth noting that Kirk’s live setup differs significantly from his recording configuration. In the studio, he frequently uses vintage amplifiers, different pickup configurations, and a wider variety of effects to create specific textures for each song. The live rig prioritizes reliability and consistency while still capturing the essence of his studio tones.
While Kirk’s actual gear runs into the hundreds of thousands of dollars, achieving a similar tone doesn’t necessarily require such investment. The key is understanding the essential elements of his sound and finding affordable alternatives that capture their character.
For guitars, the ESP LTD KH-202 offers many features of the flagship KH-2 at a fraction of the price. While it may not have the same premium materials or custom graphics, it includes EMG-designed pickups and a Floyd Rose tremolo that capture Kirk’s basic tonal characteristics. Even more budget-friendly options include guitars by brands like Jackson, Ibanez, or Schecter that offer similar specifications with superstrat-style designs.
Amplifier-wise, modern modeling units can replicate Mesa Boogie tones at a fraction of the cost. Products from Line 6, Neural DSP, or Positive Grid offer convincing emulations of classic Mesa/Boogie circuits, allowing you to achieve similar saturated tones without investing in expensive tube amplifiers. If you prefer tube amplification, companies like Bugera, Monoprice, or Blackstar offer budget-friendly alternatives to expensive Mesa/Boogie models.
The essential effects are more affordable than you might expect. An Ibanez Tube Screamer Mini costs less than $100 and provides the same overdrive character as the full-sized version used by Kirk. For wah, standard Dunlop Cry Baby pedals can be found used for reasonable prices and deliver 90% of the functionality of Kirk’s signature model. A used DigiTech Whammy pedal provides all the pitch-shifting effects you’ll need for Metallica songs.
Remember that Kirk’s tone comes as much from his playing technique as from his equipment. His distinctive vibrato, precise bending, and aggressive picking approach contribute significantly to his sound. Working on these technical aspects – particularly consistent alternate picking and controlled vibrato – will help you sound more like Kirk regardless of your equipment choices.
Kirk Hammett owns over 150 guitars, including vintage Gibson models worth millions of dollars, numerous ESP signature models, and various other custom and production instruments. His collection is considered one of the most valuable in rock music.
On Master of Puppets, Kirk primarily used a 1974 Gibson Flying V and a black Gibson Les Paul Custom, both running through Mesa Boogie Mark Series amplifiers. This marked his transition from Marshall to Mesa Boogie amplification and helped define the album’s signature tone.
Kirk primarily uses EMG active pickups, specifically the EMG-81 in the bridge position and EMG-60 in the neck position. This combination provides high output, clarity, and the aggressive tone associated with Metallica’s sound. In his vintage guitars, he sometimes uses Seymour Duncan pickups for a warmer tone.
The ESP LTD KH-2 offers excellent value for players seeking Kirk’s signature sound. While it doesn’t have the premium materials of the Japanese-made KH-2, it includes similar features like EMG pickups and Floyd Rose tremolo at a more accessible price point. Many players find it provides 90% of the performance for 30% of the cost.
Yes, Kirk frequently uses different guitars and amplifiers in the studio compared to his live setup. In recording sessions, he often uses vintage amplifiers, various pickup configurations, and a wider range of effects to create specific textures for each song. His live rig prioritizes reliability and consistency while maintaining the essence of his studio tones.
Kirk’s 1959 Gibson Les Paul ‘Greeny’ is valued at approximately $2 million, making it one of the most valuable electric guitars in the world. Its exceptional value comes from both its rarity as a 1959 Les Paul and its prestigious provenance, having been previously owned by Peter Green and Gary Moore.
Kirk Hammett’s impact extends far beyond his contributions to Metallica’s music. His gear choices have influenced generations of metal players, popularized specific models and configurations, and helped create entire market segments for signature instruments. The ESP KH-2 remains one of the most successful signature guitar models in history, while his preference for EMG pickups helped establish them as the standard for metal guitarists.
Perhaps most importantly, Kirk’s approach to gear demonstrates how personal expression can shine through even the most heavily processed tones. While his equipment is undeniably sophisticated, every choice serves the music rather than technical considerations alone. This musical approach to gear selection offers a valuable lesson for players at all levels – the best gear is ultimately whatever helps you express yourself most effectively.
As Metallica band history continues to evolve, so too does Kirk’s relationship with his instruments. His recent acquisitions and collaborations show that after 40+ years at the pinnacle of metal guitar, he remains curious and open-minded about new possibilities. This commitment to growth while respecting tradition has made Kirk not just one of metal’s most influential players, but also one of its most thoughtful gear enthusiasts.
