May 2012 with Metal Hammer in English

Interview: May 2012, Metal Hammer

18 years ago, it started as a purely German phenomenon, the band has since developed into a globally successful spectacle. Rammstein are currently on a major North American tour going triumph to triumph. Regardless, Paul Landers found the time to give Metal Hammer an exclusive preview of his new Gibson Les Paul Paul Landers Signature guitar.

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

Paul: Not particularly. The conditions here are pretty decent. It would probably be more complicated in the East Bloc but the US is one of those countries where expansive tours are the norm. So far, at least no shows have been canceled. We travel within our own small plane, are driven directly to the runway in a black van, and don't wait in line during security checks. In that sort of way, we travel comfortable. The only issue is that our bodies don't really seem to notice how much we've traveled, and sometimes our minds can't keep up with reality.

Question: Yet you can rely upon your own Gibson Les Paul model each night.

Paul: That's right. I used to experiment with Music Man [Axis] guitars but I wasn't keen of how they looked visually. I am not the tallest so they fit my proportions but I just couldn't find the shape of the Music Man models attractive. That's how I ended up on Les Paul. Which along with the Telecaster and Stratocaster are something sort of like the original electric guitars. I've played exclusively with Gibson Les Paul for approximately eight years now, and I bought the first models on my own. I am not a typical endorsement type [of person] who wants them all for free. I earn my own income and can buy whatever I want to play with. That also prevents certain dependencies. The joke is, the better financially off I am, the more people offer me instruments for free.

Question: And Gibson did too?

Paul: Probably. But to me, that doesn't matter. Around three years ago, Ulf Zick from Gibson asked me if we should develop a Paul Landers Signature model together. I found the idea interesting, but didn't pursue it in any concrete or urgent mannerism. I tend to like things to develop bit by bit. I enjoy the creative process in of itself.

Question: What specific types of parameters were there for the Paul Landers model from the onset?

Paul: It definitely needed to remain a typical Les Paul model and merely be tailor made for me in the sense of the details. Especially in regards to the tech and appearance. I'd likely have been too overwhelmed with the task of an entirely new model being developed. However, this wasn't what I wanted either way. Instead, I sought to change the things that had made it difficult for me to play any Les Paul until that point.

Question: An example, the volume knob positions.

Paul: Right. On the standard Les Paul, the volume knobs [Lautstärke-Potis] are terribly difficult to reach. This is of course not the case with my model. Besides that, when it comes to guitars, I am most like a little girl: the look is the most important factor to me. I can barely hear differences in the wood. Particularly since there's major differences depending on the quality of each type [of wood]. I think a good guitar is like a stunning woman, both very hard to find.

Question: Did you base your sound on any specific role models?

Paul: Of course I listened to my favorite guitar sounds and used them 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 in time, I drove to Tom Laundhardt's store in Ehringhausen. I tried out several guitars and bought the model I found the best. Tom then customized the guitar how I wanted it, with only one volume control and a black matte finish.

Question: Matte black, matching with Rammstein.

Paul: It's my preferred color either way. The problem was largely about finding a good matte black paint. To be truthful, we haven't found an optimal solution to that yet. Because you have to be careful with varnishes so as not to destroy the wood and the sound with it. I have to trust the people who apply the varnish. Right now the matte black varnish is starting to shine a little over time due the cleaning. Changing that would most 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 [2012] and will cost around 1,700 Euro. I found it a fair price, and one which I'd pay myself for such a beautiful guitar. There are much more expensive models and even someone looking for a cheaper Les Paul would look in the Gibson's range. I think there's a good balance struck.

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 [standard, drop D, drop C], plus a spare of each. Making a total of six instruments. Plus the seventh model for the B-stage [Buck dich - D, MGM - C, Ohne dich - C]. But without a spare, so nothing can be be faulty.

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 adjust the treble with the amp. If the guitar itself doesn't sound good, no amp would salvage it.

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

Paul: Yeah, I think that too. I like when things are two tones. Everything on my guitar that is wood is painted black and the rest is made of metal. We didn't have any good ideas for the inlays so we did without it entirely. 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. However in the end, we kept with the pure and classic design.

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

Paul: That does exist, actually. As I said, we could experiment even further with the matte black finish and I also would like the metal parts of the guitar to no longer be shiny. But instead, look like a matte steel.

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

Paul: Good question. It is worth considering offering that. Maybe other guitarists feel the same way I do. That when they're standing around on stage, they'd like to have their hands be free. And sticking the pick between the strings like a blues musician is 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: Firstly, it depends on how you play the guitar. How you press the strings. How you strum them with your right hand. All of that influences the sound more than any amp would. In either case, if the riff is good, the sound is great as well. A good amp is important but the fingers and riff are critical. We are still learning each day. After so many shows, you realize less is often more on stage. The more relaxed you play, the better it sounds. If you hammer at the guitar with high tension, it sounds hectic and a bit thin. The energy depends on your wrist. No matter what your body is doing, the hand must be at a peace. The same idea applies to the distortion of the amplifier. The less, the better off. Because then there is a pressure 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 this 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.

Commentary

"Besides that, when it comes to guitars, I am most like a little girl: the look is the most important factor to me."

He is more obsessed with the color and image of the thing than he will ever, for any reason admit to. Trust me.

"the pick slot which is only found on the prototype thus far"

This is absolutely true. Some models have this circle piece on them and others don't. Finding models that do is hard because in 95% of images, his hand is in the way. Here's an image without and here's one with it. The pick holder part made a brief return during 2016-17 shows. I remember it very strongly.

"Dark, heavy, and lots of bass. I don't think you can ever have too much bass."

His live bass frequencies are insane in the Stadium tour in basically any recording with a decent enough internal mic that gets good audio. You can hear Reesh doodle-dooing with his solo being very main guitar noisy, and yet Paul's doing... whatever that bass is. He sounds like he's on the same level as Olli back there behind him. No idea why the Stadium tour is like this but it often is.

"I've played exclusively with Gibson Les Paul for approximately eight years now"

Both true and untrue. He has played with them since Ahoi tour of 2004, so by 2012 that is 8 years. He also used Music Man Axis models (two) and even an Ibanez during that tour on top of the Gibson models. Even during LIFAD, he still has an ESP... does he not remember this?

Also, the top secret? He still carried around his silver Axis model behind the scenes of the LIFAD tour in his dressing room shared with Olli. You can see the thing back there, with the Ahoi tour strap and everything 😶

If he didn't like it so much, why is he still carrying it around in 2009-10? But then I realized he said "I have a total of seven guitars with me. [...] But without a spare." in regards to the MiG tour. It's possible he simply didn't have an extra to have back there with him but then why not his ESP Eclipse? Why the Axis model??