May 2012 with Metal Hammer in English

Interview: May 2012, Metal Hammer

Rammstein began 18 years ago as a purely German phenomenon. Since then, the band has grown into a worldwide spectacle. They are currently touring North America, going from one triumph to the next. Even so, Paul Landers found time to give Metal Hammer an exclusive introduction to his new Gibson Les Paul Paul Landers Signature guitar.

Question: How are you doing Paul? Is it more exhausting touring a country as big as the US than in Europe?

Paul: Not necessarily. The touring conditions here are relatively good. It would probably be much harder in the Eastern Bloc but the US is one of those countries where extended tours are the norm. So far, no show have been canceled. We travel in our own little plane, are driven directly to the runway in a black van, and don't wait in the queue during security checks. In that sense, we travel comfortable. The only issue is your body barely notices how much you're traveling, but sometimes your head can't keep up with where you actually are.

Question: At least your head can rely on your own Gibson Les Paul model every night.

Paul: That's right. I used to experiment with Music Man [Axis] guitars but I just didn't like the look. I am not the biggest guy so they fit my proportions well, but I simply found the [body] shape of the Music Man models unattractive. That's how I eventually ended up with the Les Paul. Which along with the Tele and Strat are something sort of like the original electric guitar forms. I've played exclusively with Gibson Les Paul for about eight years now having bought the first models on my own. I am not the typical endorsement guy who wants them all for free. I earn my own money and can buy whatever I want to play. That way I don't owe anybody anything. The joke is: the better financially off I am, the more people offer me instruments for free.

Question: Gibson as well?

Paul: They probably would, but that isn't what matters to me. Around three years ago, Ulf Zick from Gibson asked me if we should develop a Paul Landers Signature model together. I thought the idea was interesting, but I didn't feel any need to turn it into a concrete plan right away. I tend to like things to develop bit by bit. The creative process alone is really fun to me.

Question: What specific requirements did you have for the Paul Landers model from the beginning?

Paul: It definitely needed to remain a typical Les Paul model and only be tailored for me in the details. Mainly the technical side and appearance. I probably would have been too overwhelmed with the task of an entirely new model being developed. But this wasn't what I wanted to do either way. Instead, I wanted to change the things that had always made a Les Paul awkward for me to use.

Question: An example, the volume knob positions.

Paul: Right. On the Les Paul Standard, the volume controls are very difficult to reach. Obviously on my model, that's not the case. When it comes to guitars, I'm a bit like girl: looks are the most important factor to me. I can hardly hear major differences between different woods anyway, especially since there can also be large differences depending on the condition of each particular piece. I think a good guitar is like a great woman, both are hard to find.

Question: Did you base your tone on any specific reference points?

Paul: Of course I listened to my favorite guitar tones and used those as my guide. (For example, Metallica, Slipknot, and Pantera.)

Question: When did you get your hands on the first prototype of the Paul Landers Signature?

Paul: At some point, I drove to Tom Laundhardt's store in Ehringhausen. I tried out several guitars and bought the model I thought was best. Tom then modified it the way I wanted with only one volume control and a black matte finish.

Question: Matte black, matching with Rammstein.

Paul: It would be my preferred color either way. The problem was more about finding a good matte black finish. To be truthful, we haven't found the perfect solution yet. Because you have to be careful with finishes to not destroy the wood and the tone with it. I have to trust the people who apply it. At the moment, the matte black finish is starting to shine a little over time from cleaning. Fixing that would definitely be another special challenge for the next model.

Question: What will the guitar end up called?

Paul: The Gibson Les Paul Paul Landers No. 1. Ulf Zick told me I am the first German artist with a Signature Gibson model.

Question: Is it available to buy already and how much does it cost?

Paul: It has been in stores since April and will cost around €1700. I think that's a fair price, and I would pay it myself for such a beautiful guitar. There are much more expensive models, and anyone who wants a cheaper Les Paul can find one in Gibson's range too. I think they found a good middle ground.

Question: How long have you played the prototype of the guitar?

Paul: For three years, both on stage and in the studio. On the current tour, I have a total of seven guitars with me. Three in each tuning plus a spare of each. That makes a total of six instruments, plus the seventh model for the B-stage. But without a spare, so nothing can break.

Question: How would you describe the sound of your Signature Les Paul?

Paul: Dark, heavy, and lots of bass. I don't think you can ever have too much bass because you can always add more treble with the amp. If the guitar itself doesn't sound good, even an amp can't salvage that.

Question: Even though you only changed a few features, your Les Paul still looks unmistakable and distinct.

Paul: Yeah, I think so too. I like when things are two colored. Everything on my guitar made of wood is painted black and the rest is metal. We didn't have any good ideas for the inlays so we left them out completely. I followed the Apple principle, if you don't have a good idea, you should just leave it out. There were suggestions for some design changes every now and again. In the end, we kept with the purely classic design.

Question: Are there any basic ideas for a second edition with any modified details?

Paul: There are, actually. As I said, we could experiment more deliberately with the matte black finish. I would like the metal parts of the guitar in the future to not shine. But instead, look more like matte steel.

Question: What about the pick slot which is only found on the prototype thus far?

Paul: Good question. It would be definitely worth considering offering it. Maybe other guitarists feel like me when they're standing around on a stage and like to have their hands free. Sticking the pick between the strings like a blues musician is too cliche.

Question: Final question. What makes this guitar, which is sure to interest even non-Rammstein fans, a real Rammstein guitar with a Rammstein sound? Is it your fingers? Or the amplifier you play through?

Paul: First of all, it depends on how you play the guitar: how you press the strings and how the pick attack is with your right hand. All of that affects the sound more than any amp could. If the riff is good, the sound is great too. A good amplifier is absolutely important but the fingers and riff are what really matter. We are still learning something new every day. After so many shows, you realize less is often more on stage. The more relaxed you are when you play, the better it sounds. If you're wound up tight and hammering away at the guitar, it quickly starts to sound frantic and thin. The energy comes from the wrist. It doesn't matter what the rest of the body is doing, there has to be peace in the hand. The same idea applies to the distortion of the amplifier: the less, the better. Because that gives more punch in the lower end of the frequency range. Richard is the typical tube guy with a Rectifier and a heavily distorted sound. Where I prefer a transistor sound and less distortion. Of course that varies from song to song. I play Pussy with less gain than Mutter, for an example. As I said, it always depends on the song and whether it fits the overall sound of Rammstein.