Peter Hammill

Hammill can be seen here playing a Fender Mustang Bass.

Hammill can be seen playing a Yamaha CP70 Grand Piano at 2:08 and 4:51 in this solo performance.

In a photo from Vandergraafgenerator, Peter Hammill is shown with his Fender Stratocaster electric guitar, confirming its use in his musical setup.

The image from Vandergraafgenerator confirms that Peter Hammill uses an Alesis Quadraverb GT, a versatile effects processor in his studio setup.

Peter Hammill used this guitar from 1976 on after he lost his ice-blue stratocaster, which was his guitar until then.

In a photo from Vandergraafgenerator, Peter Hammill is shown with a DeArmond by Guild M-75 electric guitar.

In a photo from Vandergraafgenerator, Peter Hammill is shown using a Roland MKS-80 Super Jupiter, highlighting its role in his setup.

In a photo from Vandergraafgenerator, Peter Hammill is shown with his 1987 Casio PG-380 MIDI Guitar, highlighting his use of this digital modeling instrument.

"At the other end of the studio I just have a Drumulator, DX7, grand piano and various guitars."

Peter Hammill can clearly be heard and seen playing a Hohner Clavinet D6 all throughout the Godbluff recordings, in addition to touring with it as well, as seen in the video clip, especially visible around 3:16.

Peter Hammill's first guitar to be named "Meurglys" was a black 1959 Hagstrom Deluxe. Although the specific model he owned was a Hagström ED46 Deluxe, it closely resembles the selected 1959 Hagstrom P46 Sweetone. This information is detailed in "The Guitars of Peter Hammill" on the Vandergraafgenerator website.

Hammill can be seen playing a Hohner Pianet at 0:34 and 15:45 in this live performance of "A Plague of Lighthouse Keepers" by Van Der Graaf Generator.

In the provided image from Vandergraafgenerator, Peter Hammill can be seen using a Burns Double 6 guitar.

Peter Hammill is noted as owning a Lexicon JamMan, as evidenced by a user-uploaded photo on Vandergraafgenerator’s website.

"Well, it's a Soundcraft one-inch 16-track and the little Soundtracs 16-in, 16-out desk which is great value money-wise and for what it can do. It's pretty much the ultimate for home studios and I suppose it's just about workable as a commercial studio. That's my basic set-up, with Dolby Noise Reduction on the 16-track, Little Red monitors and a Quad amp. I don't have many mics, just the UH7, C451 with C85 capsule and a PZM. I've got a few other things in operation, but as it's basically a one-man operation, I'm unlikely to need more than those three mics. If I'm doing drums I have to beg, borrow or whatever. I've also got a Drawmer compressor/limiter and Drawmer Gates - which are the best - and an Ursa Major Space Station, a Rebus rack and a couple of gates and a delay package. Then there's a Dimension D, a TC stereo parametric, Klark Technik Graphic and a Sony PCM F1 for mastering."

"Well, it's a Soundcraft one-inch 16-track and the little Soundtracs 16-in, 16-out desk which is great value money-wise and for what it can do. It's pretty much the ultimate for home studios and I suppose it's just about workable as a commercial studio. That's my basic set-up, with Dolby Noise Reduction on the 16-track, Little Red monitors and a Quad amp. I don't have many mics, just the UH7, C451 with C85 capsule and a PZM. I've got a few other things in operation, but as it's basically a one-man operation, I'm unlikely to need more than those three mics. If I'm doing drums I have to beg, borrow or whatever. I've also got a Drawmer compressor/limiter and Drawmer Gates - which are the best - and an Ursa Major Space Station, a Rebus rack and a couple of gates and a delay package. Then there's a Dimension D, a TC stereo parametric, Klark Technik Graphic and a Sony PCM F1 for mastering."

"Well, it's a Soundcraft one-inch 16-track and the little Soundtracs 16-in, 16-out desk which is great value money-wise and for what it can do. It's pretty much the ultimate for home studios and I suppose it's just about workable as a commercial studio. That's my basic set-up, with Dolby Noise Reduction on the 16-track, Little Red monitors and a Quad amp. I don't have many mics, just the UH7, C451 with C85 capsule and a PZM. I've got a few other things in operation, but as it's basically a one-man operation, I'm unlikely to need more than those three mics. If I'm doing drums I have to beg, borrow or whatever. I've also got a Drawmer compressor/limiter and Drawmer Gates - which are the best - and an Ursa Major Space Station, a Rebus rack and a couple of gates and a delay package. Then there's a Dimension D, a TC stereo parametric, Klark Technik Graphic and a Sony PCM F1 for mastering."

"Well, it's a Soundcraft one-inch 16-track and the little Soundtracs 16-in, 16-out desk which is great value money-wise and for what it can do. It's pretty much the ultimate for home studios and I suppose it's just about workable as a commercial studio. That's my basic set-up, with Dolby Noise Reduction on the 16-track, Little Red monitors and a Quad amp. I don't have many mics, just the UH7, C451 with C85 capsule and a PZM. I've got a few other things in operation, but as it's basically a one-man operation, I'm unlikely to need more than those three mics. If I'm doing drums I have to beg, borrow or whatever. I've also got a Drawmer compressor/limiter and Drawmer Gates - which are the best - and an Ursa Major Space Station, a Rebus rack and a couple of gates and a delay package. Then there's a Dimension D, a TC stereo parametric, Klark Technik Graphic and a Sony PCM F1 for mastering."

"At the other end of the studio I just have a Drumulator, DX7, grand piano and various guitars."

"Well, all these are extracts rather than being finished pieces in themselves. Obviously I've tried to edit them down to being reasonably cohesive. Ritual Mask, I suppose, is quite funny in terms of cultural imperialism. I felt very ambivalent really, and I suppose that comes out in the song. But I did try to be as varied as possible in the instrumentation. The basic drum on it - the one that sounds absolutely massive - is actually a tiny Chinese drum. The massiveness is in fact courtesy of David Lord (engineer for Peter Gabriel amongst others) and the wonderful AMS. So that was the basic track, and I did two or three of those just to get a bit of range in them. Then the bottom end is actually a bodhran - the Irish hand-held drum. So I had these two - the Chinese and the Irish - and it emerged as something a little more African. So I was drawn towards that tribal thing really. When I started I was using that four-inch diameter drum and the rhythm was there but the total sound wasn't. The main melodic instrument on it is the kora which is Ghambian."

"Well, all these are extracts rather than being finished pieces in themselves. Obviously I've tried to edit them down to being reasonably cohesive. Ritual Mask, I suppose, is quite funny in terms of cultural imperialism. I felt very ambivalent really, and I suppose that comes out in the song. But I did try to be as varied as possible in the instrumentation. The basic drum on it - the one that sounds absolutely massive - is actually a tiny Chinese drum. The massiveness is in fact courtesy of David Lord (engineer for Peter Gabriel amongst others) and the wonderful AMS. So that was the basic track, and I did two or three of those just to get a bit of range in them. Then the bottom end is actually a bodhran - the Irish hand-held drum. So I had these two - the Chinese and the Irish - and it emerged as something a little more African. So I was drawn towards that tribal thing really. When I started I was using that four-inch diameter drum and the rhythm was there but the total sound wasn't. The main melodic instrument on it is the kora which is Ghambian."