Paul Gilbert – Essential Elements

Licks nello stile di GILBERT >> LINK <<

Sono alcuni dei miei Lick preferiti nello stile di Paul Gilbert registrati fino ad oggi, alcune sono mie interpretazioni delle idee che trovate nel libro di Peter Fischer Master of Rock

Chitarre:

Ibanez PGM

Ibanez PGM100

Finish: Jewel Blue
Years Used: 1989 to Present

Ibanez PGM300

Finish: White
Years Used: 1991 to Present

Ibanez FRM (Fireman)

1) The first Fireman built by Ibanez. “I called it the Reverse Iceman until a fan wrote and suggested Fireman, which I thought was a fantastic idea,” said Gilbert. The slightly arched top is cherry, back and neck are mahogany, pickups are DiMarzio Air Classic humbuckers.

2) Gilbert’s newest Fireman has DiMarzio P90s and a slightly narrower neck shape. There’s a three-way pickup selector and the pickups are wired to cancel hum with the swtich in the middle position.

3) This mahogany Fireman is a production model Gilbert has used on several tours. “It’s light, so it’s easy on my shoulders and back!” he said. Pickups are DiMarzio Injectors.

4) Gilbert’s “Mustard” Fireman is a production model released in Japan only, and has a mahogany body and neck with DiMarzio Injector pickups.

5) This “mustard” Fireman has an aftermarket Fernandes Sustainer and a DiMarzio Air Zone humbucker.

6) “This guitar began its life as an FRM100 and was modified with a black pickguard and DiMarzio Air Classics. I liked it so much it became its own model – the FRM150.”

7) This FRM250MF has a flame-maple top with cream binding and mahogany body and neck. “After my original was crushed, I bought this right off the rack and it was perfect!”

8) “After enjoying my natural-finish korina Fireman, I thought I’d try a red version,” Gilbert said of this FRM100 Custom Shop prototype. “It has great tone, but it’s heavier than the mahogany production version.”

9) The second Fireman ever made – and first with a pickguard – it’s also the first guitar to have DiMarzio Injector pickups. Gilbert says its neck is “narrow, but thick.”

A Japan-only limited model from the ’90s, this violin-shaped guitar is influenced by Paul McCartney’s “Beatle bass” and has DiMarzio Super Distortion pickups.

Gilbert with his ’87 Ibanez “Ice-Stroyer” hybrid of an Iceman and Destroyer. “I became an Ibanez endorser in 1987, and one of my favorite models at the time was the Destroyer that Phil Collen was playing in Def Leppard’s ‘Photograph’ video,” he said. “I asked for a pink version, and the custom shop went further and combined the top half of a Destroyer with the bottom half of an Iceman. It’s stunning, and sound great.” Built with a Kahler vibrato and a mini-humbucker in the neck, Gilbert has since given it a solid tailpiece, a DiMarzio Tone Zone humbucker, and a DiMarzio single-coil. He also moved the Volume control. Photo: Tal Chayon

Amplificazione:

ADA MP-1 (fine anni 80, inizio anni 90)

Laney GH100L (Mr.Big era; dischi solisti fino al 2007)

Marshall dal 2008 in Silence Followed by a Deafening Roar

Marshall Vintage Modern 2266C

Marshall 2061X

Corde:

Ernie Ball. Attualmente mute 8-38 (vedi l’appunto sulla chitarra qui sotto in foto); in passato anche 10-46 e 11-52

Effetti:

Ibanez AF2 Airplane Flanger Paul Gilbert Signature

MXR Phase 90

JHS PG-14 Paul Gilbert Signature

Approcci Melodici/Armonici:

Con i Racer X i primi album sono quasi esclusivamente in Minore Naturale, successivamente (1990) l’impegno è stato di “non suonare mai più una sesta minore”.

Il suo playing prende due direzioni: Neoclassico e Blues/AOR. Se per il neoclassico è più scontato l’elenco degli ingredienti (Minore Naturale, Minore Armonica; Minore Melodica) per il discorso Blues alcuni suoi lick derivano da una scala mista chiamata scala Hip: 1 – 2 – b3 – 3 – 4 – b5 – 5 – 6 – b7

Di fatto la scala pentatonica è un ottimo modo per imitare lo stile di Paul Gilbert, magari unita alla scala blues minore e al modo Dorico.

Paul Gilbert è un maestro di tutte le tecniche chitarristiche Rock, una delle caratteristiche del suo playing consiste nel prendere dei piccoli frammenti di note facili da suonare, unendoli per costruire fraseggi più lunghi. La parte difficile è portarle alla giusta velocità.