Paul Gilbert Quotes

On 'Honeybabysweetiedoll' I used a Whammy, a Boss OC-3 octave box, a Sustainer and a Line 6 DL4 Delay Modeler. That's only on the intro, where all those weird noises are happening.

I keep changing my stuff. I used to play through a Marshall JCM800, and then I also had a Randy Rhoads signature amp. So before I was playing EVH, I was playing an ODB pedal. I still have my Dunlop Jerry Cantrell wah pedal because I love that.

I've got a lot of pedals and a lot of knobs that need to be switching around during my performance, so I've taught my toes how to do that.

I use Pearl Eliminator Pedals and I swear by them.

As you can appreciate over my lifetime I've developed a large vocabulary of sounds each requiring certain physical techniques often combined with a specific effect box.

'No Bones' has some reverb that I kick around.

The most obvious thing you can't do with a guitar synthesizer is to really sound like a guitar.

The Marshall guitar amplifier doesn't just get louder when you turn it up. It distorts the sound to produce a whole range of new harmonics, effectively turning a plucked string instrument into a bowed one.

I'm obsessed with fuzz pedals.

I still fall back a lot on my Les Paul, and there is just no getting away from a Les Paul and a hot pickup.

My tools are musicians, effects, things like that.

All my racks are the same between Slipknot and Stone Sour. The only thing I'll do is switch out pedals in the GCX system. But it's the same heads, same wireless, same GCX.

I've really gotten over pedals. I can't keep up with this craze of boutique pedals that make you sound like everything but your guitar. I can't get my head around it.

My basic setup is my Ibanez Fireman guitars and for pedals, the TC Electronic MojoMojo is the mainstay of my board, along with a Catalinbread Calissto Chorus.

It is the universe where all rock players live- we all use distortion, overdrive, gain and saturation. I call it 'fuzz.'

I have a love of gear and pedals, from old pedals to new ones with new sounds. If I get depressed, I start looking for a certain type of pedal, learn the history, who and what it was made for, that kinda thing.

For 'Death Magnetic,' I used what I always use, which is my standard touring rack, which is filled with some Boogie stuff and a Marshall that I've had forever.

If you have a great-sounding guitar that's a quality instrument and a good amp, and you know how to make the guitar talk, that's the key. It starts with the guitar and knowing what it should sound and feel like.

I just have some restaurants to just go and eat there. Do mean places to watch people? I like to go shopping look for guitars and stuff with my friends. Look at Meyer, great old instruments, talk about pedals and stuff.

A wah-wah is important as well. I love it; it makes the guitar scream.

There's something about a Gucci loafer kicking on a fuzz pedal.

Weirdly enough, if I'm having trouble with a guitar part - not the playing of it but the writing - I'll mess around with echo and other effects, just turn everything up and make it as crazy as can be, and it winds up taking me somewhere. I've found so many guitar parts from echo. It's limitless.

Lots of people think it was Jimmy Page who had the first fuzzbox. It wasn't, No! it wasn't me either.

I have a Chamberlain I bought from some surfers in Westwood many years ago. It's an early analog synthesizer; it operates on tape loops. It has 60 voices - everything from galloping horses to owls to rain to every instrument in the orchestra.

Playing along with records is key. And as far as equipment goes it has gotten so much more affordable and the drum sets are of great quality. I play Pearl; their Export Series is great for a beginner.