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Flanging /ˈflændʒɪŋ/ is an audio effect produced by mixing two identical signals together, with one signal delayed by a small and gradually changing period, usually smaller than 20 milliseconds. This produces a swept comb filter effect: peaks and notches are produced in the resultant frequency spectrum, related to each other in a linear harmonic series. Varying the time delay causes these to sweep up and down the frequency spectrum. A flanger is an effects unit dedicated to creating this sound effect.

Part of the output signal is usually fed back to the input (a "re-circulating delay line"), producing a resonance effect which further enhances the intensity of the peaks and troughs. The phase of the fed-back signal is sometimes inverted, producing another variation on the flanging sound.

	Example of flanging A short sample followed by two flanging versions.
Problems listening to this file? See media help.

Origin[link]

The name "flanging" comes from the original method of creation. Originally, a signal would be recorded to two tape machines simultaneously. The playback-head output from these two recorders was then mixed together onto a third recorder. In this form, minute differences in the motor speeds of each machine would result in a phasing effect when the signals were combined. The "flange" effect originated when an engineer would literally put a finger on the flange, or rim of one of the tape reels so that the machine was slowed down, slipping out of sync by tiny degrees.^{[citation needed]} A listener would hear a "drainpipe" sweeping effect as shifting sum-and-difference harmonics were created. When the operator removed his finger the tape sped up again, making the effect sweep back in the other direction. Note, however, that the Beatles' producer George Martin has cited this "reel flange" source of the name and said it was not so, attributing the term to John Lennon (see Martin's account below).

Alternatively, the track could be recorded to two matching tape decks first, then replayed simultaneously with both decks closely in sync. With this method, slowing down one deck by pressing the tape reel flange would "sweep" the flange effect in one direction, but when released the playback of that deck would remain slightly behind the other, and the effect would not sweep back. Instead, pressing the flange of the other deck would sweep the effect back in the other direction as the tape position of the decks move toward being in sync again.

Older recording hardware could suffer from flanging as an undesired side effect when recording very long tracks. As the weight of the tape built up on one reel, the pressure on the capstans could cause flanging during mixdown or dubbing. This was one of the problems faced by studio engineers in the sixties and seventies when recording large concept pieces, as explained by Ian Anderson of Jethro Tull when recounting the studio challenges of recording Thick as a Brick.

The development of the classic "flanging" effect is generally attributed to Ken Townsend, an engineer at EMI's Abbey Road Studio, who devised the process in the spring of 1966. Tired of the laborious process of re-recording dual vocal tracks, John Lennon asked Townsend if there was some way for the Beatles to get the sound of double-tracked vocals without actually doing the work. After mulling the problem over, Townsend devised Artificial Double Tracking or "ADT." According to historian Mark Lewisohn, it was Lennon who actually gave the process the name "flanging". Lennon asked Beatles producer George Martin to explain how ADT worked, and Martin answered with the nonsense explanation "now listen, it's very simple: we take the original image and we split it through a double-bifurcated sploshing flange with double negative feedback".^[1] From that point on, whenever Lennon wanted a Beatles song double-tracked, he would ask for "Ken's flanger". According to Lewisohn, "The Beatles' influence was so vast that the term "flanging" is still in use today, more than 20 years on." The first Beatles track to feature flanging was "Tomorrow Never Knows" from Revolver, which was recorded on April 6, 1966. When Revolver was completed and released on August 5, 1966, almost every song on the album had been subjected to flanging.^[2]

Others have attributed it to George Chkiantz, an engineer employed at Olympic Studios in Barnes, London. One of the first instances of the sound being used on a commercial pop recording was The Small Faces' 1967 single "Itchycoo Park",^[3] recorded at Olympic and engineered by Chkiantz's colleague Glyn Johns.

	Itchycoo Park - The Small Faces noicon listen to the tape flanging effect on the 1967 single.
Problems listening to this file? See media help.

However there are competing claims for the first recorded use of the technique. One is that the technique was pioneered by the BBC Radiophonic Workshop, who published their experiments on radio shows such as the Goon Show in freely available journals.^{[citation needed]} ("Flange" was one of many words used out of context on the show to confuse/amuse the audience).

American music industry veterans David S. Gold and Stan Ross, founders of the renowned Gold Star Studios in Hollywood, claim that they made the first commercial recording to feature the technique - the single "The Big Hurt" by Toni Fisher, which was recorded at Gold Star in late 1959 and became a hit in the U.S. in early 1960, rising to #3 on Billboard magazine's singles chart. Flanging is also heard in the opening of The Ventures' 1962 cover version of The Tornados hit "Telstar", in the context of a simulated rocket launch sound effect.

The first use of the flanging effect in stereo is credited to producer Eddie Kramer, who used the effect in the coda of Jimi Hendrix's "Bold as Love" (1967). Kramer admitted in an 1990s interview that he read BBC Radiophonic Workshop technical journals for ideas and circuit diagrams.

In 1968, the record producer for The Litter, Warren Kendrick, devised a method to precisely control the flanging effect by placing two 15 IPS (inches per second) stereo Ampex tape recorders side-by-side.^[4] The take-up reel of recorder A and supply reel of recorder B were disabled, as were channel 2 of recorder A, channel 1 of recorder B and the erase head of recorder B. The tape was fed left-to-right across both recorders and an identical signal was recorded on each channel of the tape, but displaced by approximately 18 inches along the length of the tape. During the recording, a screwdriver was wedged between the tape recorders to make the tape run "uphill" and "downhill." The same configuration was employed during the playback/mixdown to a third recorder. The screwdriver was moved back and forth to cause the two signals to diverge, then converge. The latter technique permits zero point flanging; i.e., the lagging signal crosses over the leading signal and the signals change places.

A similar "jet plane-like" sound effect can also occur naturally in long distance shortwave radio music broadcasts. In this case the varying delays are caused by varying radio wave propagation times and multipath radio interference.

Artificial flanging[link]

In the 1970s, advances in solid-state electronics made the flanging effect possible using integrated circuit technology. Solid-state flanging devices fall into two categories: analog and digital. One of the most famous flanger pedals is the Electro Harmonix Electric Mistress. The flanging effect in most newer digital flangers relies on DSP technology. Flanging can also be accomplished using computer software.

Note that the original tape-flanging effect sounds a little different from the later electronic and software re-creations. Not only is the tape-flanging signal time-delayed, but the response characteristics at different frequencies of the magnetic tape and tape heads inevitably introduced some phase shifts into the signals as well. Thus, while the peaks and troughs of the comb filter are more or less in a linear harmonic series, there is a significant amount of non-linear behaviour too, causing the timbre of tape-flanging to sound more like a combination of what came to be known as flanging and phasing.

"Barber pole" flanging[link]

Also known as "infinite flanging", this sonic illusion is similar to the Shepard tone effect, and is equivalent to an auditory "barber pole".^[5] The sweep of the flanged sound seems to move in only one direction ("up" or "down") infinitely, instead of sweeping back-and-forth. While Shepard tones are created by generating a cascade of tones, fading in and out while sweeping the pitch either up or down, barber pole flanging uses a cascade of multiple delay lines, fading each one in to the mix and fading it out as it sweeps to the delay time limit. The effect is available on various hardware and software effect systems.^[6][7]

See also[link]

• List of recordings with a prominent flanging effect
• Comb filter
• Moire pattern

References[link]

External links[link]

Listen to this article (info/dl)

This audio file was created from a revision of the "Flanging" article dated 2007-09-14, and does not reflect subsequent edits to the article. (Audio help)

More spoken articles

• Explanation of analog zero-point flanging from Usenet's rec.audio.pro forum

Paul Gilbert
Paul Gilbert with Mr.Big at Festivalna Hall, Sofia
Background information
Born	(1966-11-06) November 6, 1966 (age 45) Carbondale, Illinois United States
Genres	Instrumental rock, heavy metal, hard rock, neo-classical metal, speed metal, progressive metal
Instruments	Guitar, vocals, bass, keyboards, Percussion, Harmonica
Years active	1983–present
Labels	Universal Japan, Shrapnel
Associated acts	Mr. Big, Racer X, G3, Yellow Matter Custard, John Paul Jones, The Evil Stepsisters
Website	Official website
Notable instruments
Ibanez PGM signature series, Ibanez Fireman

Paul Brandon Gilbert (born November 6, 1966 in Illinois, USA) is an American guitarist. He is well known for his technical guitar work with Racer X and Mr. Big, as well as many solo albums and numerous collaborations and guest appearances with other musicians.

He has been voted number 4 on a list in GuitarOne magazine of the "Top 10 Greatest Guitar Shredders of All Time",^[1] as well as a spot in Guitar World's 50 Fastest Guitarists of All Time list.^[2]

Shrapnel Records[link]

Gilbert was raised in Greensburg, Pennsylvania.^[3] Around 1981-82, he first contacted Mike Varney, founder of Shrapnel Records, asking for a gig with Ozzy Osbourne. At the time, Varney couldn't think why Osbourne would want a 15 year old guitarist, but after listening to his demo he changed his mind. Gilbert was featured in Guitar Player magazine at the age of fifteen.^[3] They talked for the next 3 years, until Paul went to L.A. for the GIT (Guitar Institute of Technology), and then was ready to record Racer X's debut album Street Lethal.

Racer X[link]

Formed in Los Angeles in 1985, Racer X originally comprised Paul Gilbert (guitar), Juan Alderete (bass), Harry Gschoesser (drums) and Jeff Martin (vocals). They were heavily influenced by Judas Priest and Gilbert's playing was reminiscent of Yngwie Malmsteen, displaying fast-driven solos with extreme-level technique. Gschoesser was replaced by Scott Travis (later known for being the drummer for Judas Priest) in 1986, and Bruce Bouillet was added as a second guitar player. Bouillet was a very skilled player, as he had to play over Gilbert's always difficult and challenging phrases. Paul Gilbert gained recognition as one of the fastest guitar players in the world due to incredibly technical pieces like "Technical Difficulties" "Frenzy", "Scarified", "Y.R.O." and "Scit Scat Wah". Gilbert left Racer X in 1988. Racer X carried on for a short time with guitarist (and fellow GIT alum) Chris Arvin and vocalist Oni Logan (later of George Lynch's Lynch Mob) when singer Jeff Martin departed to play drums in Jake E. Lee's Badlands, in which he replaced Eric Singer who left to join Alice Cooper. Shortly thereafter, the members of the re-invented Racer X went their separate ways. The original band would eventually reform (although without Bruce Bouillet, who in-turn did produce the first reunion record).

Paul contacted the members of Racer X, and all agreed to return, with the exception of Bruce Bouillet. In mid-1999 the band recorded the album Technical Difficulties. Technical Difficulties went gold in Japan, and Racer X's new record label requested a follow-up. In late 2000, the band released another album, Superheroes. The record was mixed by former Racer X guitarist, Bruce Bouillet.

In order to further capitalize on their new-found success in Japan, Universal Japan requested that the band record a live show for another live CD and DVD. On May 25, 2001, the band played their first live performance in thirteen years to a sold-out crowd at the famed Whisky a Go Go in Los Angeles. The show was recorded for both audio and video, and in 2002, both the CD and DVD were released under the name Snowball of Doom.

In January 2002, in support of Superheroes and Snowball of Doom, Racer X toured Japan and Taiwan. The band performed these shows in their Superheroes costumes, and the final show, in Yokohama, was hastily recorded in two tracks on the sound board and was to be later released as Snowball of Doom 2. Later that year, Universal Japan pushed for another Racer X release. In October 2002, all four members of Racer X gathered at Gilbert's house in Las Vegas to record Getting Heavier, which was sold alongside Snowball of Doom 2 in a package deal. Although the album was a successful release in Japan, some fans were disappointed with the lighter tracks, which resembled a Paul Gilbert solo album more so than a traditional Racer X album.

Racer X performed at the 2009 NAMM show at the Anaheim Convention Center in Anaheim, California. Andy Timmons and his band opened the show, followed by a solo set from Paul Gilbert, and finally Racer X. The Racer X lineup consists of Paul Gilbert, Scott Travis, Jeff Martin and John Alderete.^[4]

Mr. Big[link]

When Billy Sheehan left David Lee Roth's band in 1988, he joined with Paul Gilbert, who had left his former band, Racer X. They founded Mr. Big, with Pat Torpey on drums and singer Eric Martin. The band was initially a huge success in Japan, and became famous internationally in 1991, with the release of their second album, Lean Into It. This album featured the ballad "To Be With You", which received strong media play and reached #1 on the Billboard Hot 100.

Gilbert continued playing in Mr. Big until the late 1990s. He left the band in 1997 to pursue a solo career, and was replaced by Richie Kotzen. Mr. Big disbanded in 2002.

In June 2009, Paul Gilbert reunited with original Mr. Big members; Eric Martin (vocals), Billy Sheehan (bass), and Pat Torpey, for a world wide reunion tour. They recorded a new album with producer Kevin Shirley.^[5] titled What If.... The album was released in Japan on Dec. 15th, 2010, in Europe on Jan. 21st, 2011 and in the USA in Feb. 2011. A tour to support the album kicked off at The House of Blues, in Hollywood, CA on April 2, 2011, followed by several dates in Japan in the same month. In May and June 2011, the tour continues in China, Korea, The Philippines and Europe.

Projects[link]

Gilbert performing on March 2, 2007

In May 2003 he played in an only twice-performing project called Yellow Matter Custard, a Beatles cover band consisting also of Mike Portnoy (ex-Dream Theater), Neal Morse (ex-Spock's Beard), and Matt Bissonette. In February 2011 Yellow Matter Custard re-formed for 3 Nights Across America. Kasim Sulton replaced Matt Bissonette in the 2011 shows due to other commitments. They took their name from a Beatles lyric in "I Am the Walrus": "Yellow matter custard, dripping from a dead dog's eye".

He rejoined Portnoy along with Dave LaRue and Daniel Gildenlöw for a Led Zeppelin tribute band called Hammer of the Gods in November 2003. The same year, he toured Japan with Linus Of Hollywood, TJ Helmerich, and Scot Coogan in support of his solo albums Burning Organ, Paul the Young Dude/The Best of Paul Gilbert, and Gilbert Hotel. In September 2005, he joined Portnoy, Sean Malone, and Jason McMaster in the Rush tribute band Cygnus and the Sea Monsters. In May 2006, he joined Portnoy, Gary Cherone, and Billy Sheehan to form Amazing Journey: A Tribute to The Who, playing three shows. The band (excluding Sheehan) destroyed their equipment after the show in homage.

He was also revealed to be the guest guitarist on the Neal Morse solo album, Sola Scriptura. In 2007, Paul Gilbert toured with Bruce Bouillet for promotion of his first instrumental album, Get Out of My Yard, which was released in 2006. Also joining him was his wife, Emi Gilbert, on keyboards. Paul Gilbert also joined Joe Satriani and John Petrucci in the 2007 G3 tour. This was the 5th North American G3 run and the 12th tour worldwide since its inception.

On January 23, 2008, Paul released an instrumental CD titled Silence Followed By A Deafening Roar. It was released in Europe on March 31, 2008, and in America on April 8, 2008. This is Paul's second instrumental album.^[6]

On October 22, 2008, Paul released an album with vocalist Freddie Nelson entitled United States.^[7] The collaboration has been described as a cross of Queen and Mr. Big.^[8]

Paul with Racer X performed at the 2009 NAMM show at the Anaheim Convention Center in Anaheim, California. Andy Timmons and his band opened the show, followed by a solo set from Gilbert, and finally Racer X. This Racer X lineup consisted of Gilbert, Scott Travis, Jeff Martin and John Alderete.^[4]

Gilbert also joined George Lynch and Richie Kotzen on the Guitar Generation tour.

On June 30, 2010, Gilbert's new album Fuzz Universe was released in Japan, with a release in America and Europe soon after.^[9] It is Paul's 3rd solo album being entirely instrumental.^[9] A cover of Johnny Cash's "Leave That Junk Alone" is featured as a Japanese bonus track.^[9][10]

Influences and Style[link]

Talking about his influences, Paul mentions many different artists, including: Randy Rhoads, Kim Mitchell, Eddie Van Halen, Yngwie Malmsteen, John J Kirby, Tony Iommi, Alex Lifeson, Jimmy Page, Robin Trower, Ritchie Blackmore, Pat Travers, Gary Moore, Michael Schenker, Judas Priest, Akira Takasaki, Steve Clark, Jimi Hendrix, Kiss, and The Ramones. Paul has stated many times that he was heavily influenced by his uncle Jimi Kidd who was instrumental in getting Paul interested in playing the guitar. He is also a great fan of The Beach Boys and The Beatles. He states on the Space Ship Live DVD that George Harrison is one of his favorite guitar players. Guitar World magazine declared him one of 50 of the world's fastest guitarists of all time, along with Buckethead, Eddie Van Halen, and Yngwie Malmsteen.

Gilbert composes music in a wide variety of styles including pop, rock, metal, blues, funk and european classical music, but is perhaps best known for his versatility and speed. He is noted in particular for his efficient picking and his tendency to pick many notes rather than relying on legato for fast passages.

Instructor[link]

Paul Gilbert wrote his own section of the British guitar magazine, Total Guitar, where he normally demonstrated guitar techniques in the magazine and accompanying CD. Even before that, he contributed instructional articles to Guitar Player Magazine in a late 1980s/early 1990s series entitled "Terrifying Guitar 101". His period of working with Total Guitar spanned thirty-one issues until the November 2006 issue. Paul also teaches at the Guitar Institute of Technology (GIT) regularly, and is also an "honorary dean" of the GIT division in Japan. Paul visits Japan, enjoying the lifestyle like his Shrapnel labelmate Marty Friedman, who still lives in Japan and speaks Japanese fluently. Gilbert is known for his instructional videos, which are often comical in nature. One of his instructional videos includes him pulling a rabbit out of his guitar, putting his guitar in a straightjacket and having presents thrown at him by members of the film crew. Paul also was, for a short time, the guitar teacher of Buckethead, Russ Parrish (A.K.A. Satchell from Steel Panther), Michelle Meldrum (The late wife of Europe guitarist John Norum) and Nicole Couch of Phantom Blue. Gilbert now writes a column for Premier Guitar entitled "Shred Your Enthusiasm".

Gear[link]

Gilbert playing his signature guitar 2007

Paul Gilbert primarily uses his Ibanez PGM signature series guitars,^[11] identified by the unique painted on "F-holes". Although earlier PGM models featured the Ibanez Lo-Pro/Edge double locking tremolo system, many of his guitars (such as his main PGM300) were modified to accommodate a fixed bridge after he stopped using whammy bars in the early 90s, hence the Ibanez PGM301 guitar. Along with his signature guitars, Gilbert often uses his sticker-covered "Dino" Ibanez RG550, in addition to a wide variety of Ibanez solidbody and semi-hollow electric guitars. Recently, Gilbert has been using Ibanez "Fireman" (a reversed-body Ibanez Iceman with single-coil pickups and an extra cutaway) guitars, which he designed himself.^[12] A red version The Ibanez Fireman is to be mass-produced for consumers at a more affordable price than the Ibanez PGMFRM1 (current Paul Gilbert signature Fireman) in Fall 2011.

Regarding amplifiers, Gilbert used A/DA preamps (A/DA MP-1) and rack effects units early in his career prior to switching to Laney amplifiers. He praised the Laney amps as having "the best natural distorted sound of any tube amp ever heard" Since the G3 2007 tour however, Gilbert stated that playing with Joe Satriani and John Petrucci inspired him to take a closer look at his own guitar sound. As a result of his search he found the Marshall Vintage Modern series. He currently uses the Marshall Vintage Modern 2266c combo amps. Paul now uses the Marshall JMD:1 (specifically JMD501) amplifier along with his Vintage Modern amplifier. Paul uses Jim Dunlop Tortex picks, of which he prefers the orange (.60mm) picks. As far as cables Paul uses^[13] Bullet Cable 30' Coiled Cables, Bullet Cable SLUG DIY solderless patch cables for his pedalboard and effects.

Paul has been known to use the following effects:

Paul also used a modified vintage A/DA Flanger from the 1980s (source: Berlin VIP session interview). You can hear it on tracks like 'Bucket of Rocks', and he also uses it on the 'Snowball of Doom' DVD. Paul stated the flanger had been modified. He would set the flanger to self oscillate, which would make the pitch of the resulting signal alternate up and down to create a sound similar to a dive bomb or a pull up on a whammy bar. Unfortunately, during Paul's 2008 European tour, his trusty A/DA Flanger broke. Thankfully, before the pedal broke, he and Ibanez collaborated to make a similar pedal, with both a regular flanger mode and a mode which can be set to create a close approximation of the A/DA pedal's sound, and the pedal has been released as the Ibanez Paul Gilbert AF-2 Airplane Flanger. He also uses the Psilocybe phaser and THC chorus pedals from Home Brew Electronics.

In the intro to "Get Out Of My Yard" Paul uses a Boss DD-3 Delay pedal to achieve the altered pitch looped effect at the beginning of the track. This was also demonstrated by Paul on the instructional DVD of the same name.

He is also famous for using a Makita cordless drill with three picks mounted on the end of it, which he used most famously on the Mr. Big track "Daddy, Brother, Lover, Little Boy".

In 2009, Ibanez released a new PGM model, the Ibanez PGM401, which is rather different from most of Paul's previous models, with an ash body (most of his previous models were made of basswood, although his PGM800 guitar was made of lightweight ash, a similar but different wood than that used in the PGM401), Trifade Burst finish, Cosmo Black hardware and a regular headstock replacing the reversed one of the previous models. Also, rather than the DiMarzio PAF Pro, Tone Zone and Super Distortion pickups used in his previous models, the PGM401 comes with Paul's favorite humbucker model for the past five years, the DiMarzio Air Classic, arranged in a dual humbucker arrangement. Paul has stated that he had the bridge pickup moved 1mm closer to the neck, which he said results in a warmer and thicker sound, particularly for the high notes he often uses in soloing. The F-holes are 3% smaller, to make the look more balanced with the pickup mounting rings. But perhaps the biggest difference from other current Ibanez guitar models, is that the PGM401 uses the old late-1980s neckjoint, which is thicker than the current neckjoints on other Ibanez guitars.^[14]

In 2011, Ibanez released a new model for Gilbert the FRM100. The design of the FRM100 was inspired by many hours of playing and performance by Paul Gilbert with the original Ibanez Fireman model featuring a distinctive reverse Iceman body outline ^[15]

Discography[link]

Racer X[link]

• Street Lethal (1986)
• Second Heat (1987)
• Extreme Volume Live (1988)
• Extreme Volume II Live (1992)
• Technical Difficulties (1999)
• Superheroes (2000)
• Snowball of Doom (2002)
• Getting Heavier (2002)
• Snowball of Doom 2 (2002)

Mr. Big[link]

• Mr. Big (1989)
• Raw Like Sushi (1990)
• Lean Into It (1991)
• Raw Like Sushi II (1992)
• Bump Ahead (1993)
• Japandemonium: Raw Like Sushi 3 (1994)
• Channel V at the Hard Rock Live (1996)
• Hey Man (1996)
• Big Bigger Biggest: Greatest Hits (1996)
• Next Time Around Best Of (2009)
• Back To Budokan Live (2009)
• What If... (2011)

Solo Albums[link]

• Tribute to Jimi Hendrix (EP) (1991) (Japan Oricon Album Chart #59)
• King of Clubs (1998) (Japan Oricon Album Chart #28)
• Flying Dog (1998) (Japan Oricon Album Chart #23)
• Beehive Live (1999) (Japan Oricon Album Chart #72)
• Alligator Farm (2000) (Japan Oricon Album Chart #24)
• Raw Blues Power With Jimi Kidd (2002) (Japan Oricon Album Chart #94)
• Burning Organ (2002) (Japan Oricon Album Chart #27)
• Paul the Young Dude/The Best of Paul Gilbert (2003) (Japan Oricon Album Chart #31)
• Gilbert Hotel (2003)
• Acoustic Samurai (2003) (Japan Oricon Album Chart #94)
• Space Ship One (2005) (Japan Oricon Album Chart #53)
• Get Out of My Yard (2006) (Japan Oricon Album Chart #52)
• Tough Eskimo (limited edition EP) (2007)
• Silence Followed By A Deafening Roar (2008) (Japan Oricon Album Chart #39)
• United States With Freddie Nelson (2009)
• Fuzz Universe (2010) (Japan Oricon Album Chart #57)

Other appearances[link]

• Trouble In The Streets- Black Sheep(1985)
• Atomic Basement Tapes - Missing Lynx (1985)
• Revelation - Darrell Mansfield Band (1985)
• Pump It!' - Jeff Berlin (1986)
• Out of the Sun - Joey Tafolla (1990)
• Humanary Stew - A Tribute to Alice Cooper
• Guitars That Rule the World (1992)
• Smoke On The Water: A Tribute (1994)
• Samad: Samad Lead Guitar on "Joget" and "Animo" (1994)
• Jeffology: A Guitar Chronicle (1996)
• Carmine Appice's Guitar Zeus (track "Dislocated") (1996)
• Akira Takasaki - Wa (1996)
• Merry Axemas - A Guitar Christmas (1997)
• Mikazuki^{[disambiguation needed ]} "In Rock" Sound Track, Guitar on tracks "Crescent Moon" & "Theme for Kazeo" (2000)
• Becker 2001, Warmth in the Wilderness -A Tribute to Jason Becker(Guitar and vocals for Hawkin)
• Hughes Turner Project - HTP (2002)
• Battle Gear III: The Edge (played on "Charge and Discharge," "Morning View," and "The Machine of Rage" bonus tracks) (2003)
• Kim Fox Return to Planet Earth (2003) Guitar on track 4
• Guitar Wars (2003)
• Return to the Planet Earth - Kim Fox (2003)
• One Night in New York City - Yellow Matter Custard (2003) Available @ MikePortnoy.com
• Mieze - Marco Minnemann (2004)
• Five Feet...No Inches - Pintsize (2005)
• Contraire de la chanson - Marco Minnemann (2006)
• Parador (track "Joke") - Wisely (2006)
• Light at the End of the Tunnel - War and Peace (2006) (with Richie Kotzen, John Norum, Jeff Pilson)
• Two Nights In North America - Hammer of the Gods (2006) Available @ MikePortnoy.com
• One Night in Chicago - Cygnus and the Sea Monsters (2006) Available @ MikePortnoy.com
• Live with Sex Machineguns - Tokyo (2005)
• One Night in New York City - Amazing Journey (2007) Available @ MikePortnoy.com
• Spin The Bottle - An All Star Tribute To Kiss (guitars on "I Want You") (2004)
• Numbers from the Beast - An All Star Tribute to Iron Maiden (guitars on "The Evil That Men Do") (2005)
• Evil Lives: A True Metal Tribute to Black Sabbath (with Racer X on Track 4: "Children of the Grave") (2006)
• The Fool - Jeff Martin solo album (2006)
• Sola Scriptura - Neal Morse (2007)
• G3 Tour (2007)
• Lifeline - Neal Morse (2008)
• Guitar Hero Hero (Beating Guitar Hero Doesn't Make You Slash) - MC Lars (2008)
• Bowling for Soup - Merry Flippin' Christmas Volume 1 (I Saw Mommy Kissing Santa Clause) (2009)

Videography[link]

• Intense Rock Jams - Sequences & Techniques VHS version
• Intense Rock II featuring Paul Gilbert VHS version
• Guitars from Mars Japanese DVD release
• Guitars from Mars II Japanese DVD release
• Terrifying Guitar Trip VHS version
• Eleven Thousand Notes DVD
• Guitar Wars DVD
• Space Ship Live DVD (2005)
• Complete Intense Rock DVD (2006)
• Terrifying Guitar Trip DVD (2006)
• Get Out Of My Yard Guitar Instructional (string skipping) DVD (2007)
• Get Out Of My City Guitar Instructional DVD/VCD (2007)
• One Night In New York City - Yellow Matter Custard (2003)
• Two Nights In North America - Hammer Of The Gods (2006)
• One Night In Chicago - Cygnus And The Sea Monsters (2006)
• One Night In New York City - Amazing Journey (2007)
• Silence Followed By A Deafening Roar Guitar Instructional DVD And Shred Annex (2008)
• The Last Note of Freedom

References[link]

External links[link]

Wikimedia Commons has media related to: Paul Gilbert

• The official Paul Gilbert site
• The official Racer X site
• Paul Gilbert - Rock Squad Interview
• Gilbert's solo on Mr Big site
• Paul Gilbert on Last.fm
• Paul Gilbert artist page at Guitar Video Channel