[Paul Gilbert] How to Recreate the Racer X Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Paul Gilbert, the renowned guitarist of Racer X, gained worldwide recognition in the 1980s for his astonishing speed and clarity in picking, influencing countless guitarists across the globe. His playing style is characterized not only by his technical prowess in fast picking but also by his ability to produce delicate clean tones and expressive bluesy sounds, making him versatile across various genres, from rock to metal and fusion.

Iconic tracks such as “Scarified” and “Technical Difficulties” serve as textbook examples of fast guitar playing. In these songs, the tight response of the Ibanez PGM series guitars combines with the powerful drive of Marshall amplifiers to create a sharp and cutting tone.

Unlike his solo work or his time with Mr. Big, Paul’s sound during the Racer X era emphasized a direct connection between the guitar and amplifier, fine-tuning it with boosters and overdrives to achieve a balance of clarity and aggression. This simple setup highlights his incredible right-hand precision and the articulation of each note, showcasing his signature sound.

In the following sections, we will thoroughly explore Paul Gilbert’s sound design from the perspectives of amplifiers, guitars, effects, and EQ settings, along with suggestions for affordable alternatives that beginners can use to approach his tone.

▶ Search official YouTube videos of Racer X

List of Amplifiers and Features

During the Racer X era, Paul Gilbert was known for his straightforward yet classic setup centered around Marshall amplifiers. The “Marshall Vintage Modern” series, particularly the combo type 2266C and the head 2466 paired with the 425 cabinet, were frequently used in live performances.

This setup is characterized by a clear distinction between the LOW input for clean tones and the HIGH input for distortion. On stage, he often utilized two 2466 heads, switching channels depending on the song to achieve a crisp clean tone and sharp distortion instantly. Additionally, the use of a THD Hot Plate attenuator allowed him to maintain full drive while reducing volume, a clever solution for live settings.

On the other hand, the Marshall 2061x (head) and 2061cx (cabinet) provided a more classic and punchy tone, often used in studio or smaller stage settings. Furthermore, the JTM1C was adopted for practice and recording, allowing him to replicate his signature tone even in home environments.

Additionally, during the rack system era, he utilized the Marshall JMP-1 preamp combined with the EL34 100/100 power amp, which was particularly valuable for live performances and recordings from the 1990s into the 2000s, continuing into his solo career.

Overall, Paul’s choice of amplifiers is rooted in the “classic Marshall sound,” employing multiple systems tailored to different environments. It can be assumed that he selected the best Marshall for each situation, using the Vintage Modern for live shows and the classic 2061 or rack systems in the studio.

Types of Guitars Used and Features

Paul Gilbert’s primary guitars during his time with Racer X and in his solo work have been the Ibanez PGM series, which have become synonymous with his identity over the years. Characterized by a simple white body with F-hole style paint, these guitars symbolize both his appearance and musical style. The PGM300 features two DiMarzio PAF Pro pickups and a single FS-1, delivering clear tones even at high gain, supporting the fast picking phrases typical of Racer X.

Recently, the Ibanez Fireman series has gained attention. Developed based on an inverted Iceman, the PGM-FRM1 features a three-single-coil setup and a korina body, balancing sharpness and warmth. The PGM-FRM2 “Kikusui” model, with two humbuckers and playful design elements like bottle cap knobs, stands out for its stage presence while delivering authentic tones.

During the 2023 Budokan live performance, the PGM50 served as the main guitar, featuring a special setup that allows for half-step down tuning with variable tuning on the sixth string. The PGM1000T, which incorporates a through-neck structure for the first time, was also introduced that year as a secondary instrument. These models represent his recent stage guitars.

Looking back further, he has also used a 1978 Ibanez IC200 (Iceman), which has been modified to remove the Kahler tremolo and convert to a stop tail, equipped with DiMarzio Tone Zone and Air Zone pickups, showcasing his experimental spirit. Additionally, for acoustic sounds, he has incorporated the Godin Multiac Steel Duet Ambiance, focusing on stage practicality with modifications like repositioned position markers to prevent feedback.

Overall, Paul’s choice of guitars can be summarized by three key points: “high responsiveness suitable for fast playing,” “unique aesthetics,” and “practical modifications.” For those looking to recreate the hard rock sound of Racer X, the PGM300 or Fireman series would be the closest options.

Effects and Pedalboard Setup

Paul Gilbert’s pedalboard has evolved over the years and across tours, but it generally features a “simple setup centered around overdrive,” with an increasing trend of incorporating unique pedals from various manufacturers in recent years. During the Racer X period, he primarily used TS-style overdrives and classic BOSS pedals, but many signature and custom models have emerged since his solo career began.

For overdrive, he has utilized staples like the Ibanez TS808 and Keeley Mod Plus modified TS9, often employing them for clean boost applications that highlight his picking nuances. His signature TC Electronic MojoMojo Paul Gilbert Overdrive and the Majik Box FU-2C Fuzz Universe reflect his unique sound. For distortion, the JHS PG-14 is a notable choice, capable of reproducing his characteristic harmonic-rich sound.

In terms of modulation, he primarily uses the MXR M134 Stereo Chorus and the Ibanez AF2 Airplane Flanger (signature model), along with a range of univibe-type pedals like the Fulltone Deja Vibe and unique options such as the Catalinbread Callisto. This diversity allows him to create not only fast picking tones but also spatial and three-dimensional soundscapes.

For delay/echo, staples like the BOSS DD-3, Catalinbread Belle Epoch, and MXR Carbon Copy are commonly found on his board. He often sets shorter delay times to thicken his solos. Reverb is typically kept minimal, using TC Electronic Hall Of Fame Mini or Catalinbread Topanga to add just enough spaciousness for each song.

Specialty effects include octavers like the Foxrox Octron and TC Electronic Sub ’N’ Up, as well as EQ/boosters like HBE Detox EQ and JHS Haunting Mids, showcasing his dedication not just as a fast guitarist but as a tone creator. He also incorporates the Ditto looper for practice and improvisation during live performances.

Overall, Paul’s pedalboard is a balanced mix of “classic pedals, signature models, and unique options.” While it has evolved from the simple setups of the Racer X era, the underlying philosophy of enhancing picking and phrase articulation remains consistent.

Tone Settings, EQ, and Mixing Approaches

Paul Gilbert’s sound design is fundamentally “simple yet clear.” During the Racer X period, he primarily used the drive channel of Marshall amplifiers, lightly boosting it with TS-style overdrives to enhance articulation. His EQ settings often emphasized mids while managing low-end frequencies, ensuring that the guitar stands out in the mix without overpowering the overall sound.

Specifically, it can be assumed that his EQ settings typically involve keeping the amp’s BASS around 3-4, raising the MID to about 6-7, and maintaining TREBLE around 5-6 for a flatter balance. The GAIN is not maxed out but set around 6-7, with overdrives (like TS808 or MojoMojo) providing a light push. This setup allows for clarity even during fast playing, while chords maintain a three-dimensional thickness.

During live performances, he often used two Marshall Vintage Modern 2466 heads, with the LOW channel for clean tones and the HIGH channel for distortion, creating dynamic sound changes through switching. In smaller venues or studios, he would use the 2061x to achieve a more classic and punchy tone. Additionally, controlling volume through the THD Hot Plate while maintaining saturation is a crucial aspect of his setup.

His approach to effects is also straightforward, with delay set to short times (around 250ms) to thicken leads. Reverb is generally kept light, with hall reverb added in larger venues and minimized in compact settings to preserve note clarity. Modulation effects like chorus and flanger are strategically used to create spatial depth in solos and intros.

In mixing, Paul’s guitar is often panned slightly towards the center, ensuring that solos stand out amidst a wall of rhythm guitars spread across the stereo field. By lightly boosting frequencies around 2kHz to 4kHz, he emphasizes the clarity of fast picking while cutting low-end frequencies below 100Hz to avoid clashing with the bass and kick drum. Furthermore, a light compression helps to maintain the articulation of notes while allowing for dynamic expression.

Overall, Paul’s sound design is based on “direct amp connections with minimal enhancements.” He avoids excessive distortion and spatial effects, allowing his technique and right-hand touch to shine. This approach is what supports the guitar hero sound of the Racer X era.

Affordable Alternatives to Recreate the Tone

Paul Gilbert’s sound is built around high-end gear like the Ibanez PGM series and Marshall amplifiers, but it is possible for beginners or those on a budget to get relatively close without breaking the bank. Here, we will introduce products available for around $100 to $1,000, explaining how each can approximate Paul’s sound.

For amplifiers, acquiring a full Marshall stack is not practical. Instead, I recommend modeling amplifiers like the BOSS Katana series or Marshall CODE25. These can simulate the tones of the Marshalls Paul loves, allowing for a wide range of sounds from clean to high gain. The BOSS Katana, in particular, is user-friendly, with built-in EQ and effects, making it easy for beginners to set up.

When it comes to guitars, Ibanez’s budget models (GIO series) or the Ibanez RG series are good options. While they may not feature the signature F-hole paint of the PGM series, they offer a similar slim neck and sharp response. Models like the Ibanez RG370 or RG421 can be found in the $200 to $500 range, making them suitable for fast playing and metal-oriented styles.

For effects, the BOSS SD-1 and Ibanez TS9 are classic choices. While the TS808 can be somewhat pricey, the TS9 is relatively affordable and can reproduce the mid-range boost Paul often uses. Additionally, pairing it with the BOSS DS-1 can help achieve the high-gain sound characteristic of Racer X. The BOSS DD-3 or DD-8 delay pedals are effective for reinforcing solos with shorter delay times, adding thickness to lead tones.

Finally, adding a BOSS CH-1 Super Chorus can create a sense of spaciousness in clean tones and ballads. By combining these elements, you can enjoy crafting Paul Gilbert-style sounds in live or studio settings without needing to invest in a full PGM and Marshall setup.

Summary and Conclusion

The essence of Paul Gilbert’s sound design during the Racer X era lies not in a “complex combination of gear” but in a “simple setup that maximizes his playing style.” His extraordinary technique is supported by a tight and responsive tone centered around Marshall amplifiers and the Ibanez PGM series. By adding TS-style overdrives and signature effects, he emphasizes clarity and attack.

Moreover, his sound design focuses on being a “supportive enhancement for his picking,” with an EQ balance that organizes low frequencies and emphasizes mids, ensuring clarity even during fast playing. In mixing, his guitar is adjusted to stand out in the center, maintaining presence during solos. Thus, the consideration of “which frequencies to emphasize and which to cut” is crucial.

Additionally, the introduction of newer models like the Fireman and PGM50, along with the use of EQ and specialty effects, reflects his evolution from a mere fast guitarist to a “tone seeker.” Paul is not only focused on flashy playing but also places strong emphasis on rhythm guitar and clean tones, establishing a setup that accommodates a wide range of musical styles.

For readers looking to recreate Paul Gilbert’s sound, it’s essential to understand that it’s not about perfectly copying his gear but rather about “making adjustments to highlight your touch on a simple foundation.” With a Marshall-style amplifier, an Ibanez guitar suitable for fast playing, and TS-style overdrive, you can get sufficiently close to his sound.

In conclusion, the essence of Paul Gilbert’s sound design during the Racer X era is “a simple setup that supports playing over gear” and “an EQ balance that enhances note clarity.” Understanding his approach will provide significant insights for aspiring fast guitarists.