NOTE: This website is frequently updated. When I'm recording I'll often set them in tempo to the track, so although they are just acting as an echo, the echo is rhythmic in away and has a triplet and the 4/4 beat in it. Here is a breakdown from the Great Gig multi tracks. You can also set the second delay to 254ms, which gives three repeats for every beat and adds a shorter, thick ADT slapback sound to the main 380ms delay. If using a 2 amp setup, you can try running one 380ms delay to each amp and keep the volume and delay repeats about the same for each, or you can run the 380ms delay to one amp and the 507ms dealy to the other for a slightly different feel to the stereo separation. Below is an example of me using an Echorec style delay in a cover of Pink Floyd's 1969 song Dramatic Theme form the More album. David used various Echorec models but he was most known for using the Echorec 2 model T7E. In this example I am showing how just using a single triplet 330ms delay is sufficient for this effect, but a second 4/4 feeling delay of 440ms or even a double triplet delay time to 660ms, could be added to enhance the space. Breathe Intro Using One Delay - One 440ms delay with 4-5 repeats also works well. You can also hear multi heads in a few early live Pink Floyd performances of Time and the four-note Syd's theme section from some performances of Shine on You Crazy Diamond. Record yourself playing alone verses playing along with a backing track to see what I mean. fills under second and fifth solos: 507ms -- feedback: 4-5 repeats first solo: 450ms -- feedback: 4-5 repeats -- delay level: 20% -- delay type: analog delay time to simulate offset multi track recordings: 930ms -- feedback: 4-5 repeats -- delay level: 30-35% -- delay type: analog, Breathe - Pulse version (TC2290 Digital Delay): It features two separate bass guitar tracks played in time with a single head delay (head 4) from the Echorec. verse / chorus: 430ms, Us and Them - 2016/15 live version: For example, take 450ms divided by 3 = 150ms. To figure a 4/4 delay time to work with any 3/4 triplet delay time, you can split the 3/4 time delay into thirds. Head 1 = 1/4. delay 1 time: 430ms -- feedback: 5-7 repeats - delay level: 30% -- delay type: warm digital verse: 360ms These are 5 note scales, pretty much the simplest scale a guitarist could use. For example, when he played Time for Pink Floyd's 1994 tour he used a TC 2290 Digital Delay and the dual delays from a PCM 70 delay. The third delay is probably in 3/4 time, but I can barely hear it. Sometimes he even uses two delays at once to create certain double tapped echo effects or to make a solo sound bigger. Some delays allow you to dial the volume level of the repeat louder than the signal level, which usually means 100% is when the knob is set to 12 o'clock. A DD-2 was also seen in David's Medina studio around 2017. David Gilmour is famous for his unique use of delay and echo. There are several modern Echorec style pedals, including a few with more accurate playback head controls than the Catalinbread, but the Cat Echorec is a fairly no nonsense, simple to use version that sounds great. The Mode switch is in position 7, which is Head 3 + Head 4. Let's do some "Echorec math." Gilmour's guitar playing is an integral part of this sound. Reverb was also added at the mixing desk when recording or mixing. Set the value to quarter notes, enter the BPM, and you have a delay time in milliseconds the same tempo as the song. It's actually a metallic disc that spins around. He has used this type of setup in his 1987-89 rig, his 1994 rig, and in his 2006 On An Island tour rig. As technology was progressing, the use of rack effects units became more and more efficient. second solo: 430ms - feedback: 3-4 repeats -- delay level: 15% -- delay type: analog, Shine On You Crazy Diamond I-V - 1994 live / Pulse version (TC 2290 Digital Delay): delay 1: 250ms This was most likely a reel-to reel recorder set up for a tape-loop delay. David Gilmour is famous for his unique use of delay and echo. I was able to dismantle them, put them back together, and change the head positioning. For real room reverb, mics were placed in different parts of the recording studio to capture the room sound, not just the speaker cabinet from the amp. That equates to 428ms, which we will call the 4/4 time. The specific delays he used were as I said the Binson Echorec, the MXR M-113 Digital Delay, and the TC Electronic 2290. delay 2: 254ms -- feedback 1-2 repeats - delay level: 55% -- delay type: digital delay 2 alternate: 90ms -- feedback 1-2 repeats - delay level: 55% -- delay type: digital, Run Like Hell - Delicate Sound of Thunder and Pulse - two delays in series (TC 2290 Digital Delay for main delay + 2290 ADT effect): You can also do the volume swells with the guitar volume knob, although it is much easier with a volume pedal. Brian May (of Queen) did the same effect a few years later on, - The 1983 Boss DD-2 was one of the first, and best sounding digital delays to come out of the early days of digital effects pedals. You just tap along to the song tempo with your keyboard and it calculates the BPM tempo for you. I'll keep this simple rather than going into an explanation of time signatures. This is something us Gilmour fans have sought to recreate in our own playing. It also stems from the fact that people tend to look at things with their wallets, and analog gear is often much more expensive than its digital counterpart. Pink Floyds and Gilmours music is timeless, and the albums are a must-listen for any musician who wishes to define and expand genres. A) All those pictures out there of David Gilmour's tours have the settings knobs shown, but you can not go by that and insist it is bible. The primary delay sounds best when in time with the heartbeat tempo in Time, usually somewhere around 240 - 250BPM (beats per minute). Alternately, you can use 380ms as the long delay and 285ms as the short time delay, equivalent to Head 3 and Head 4 on the PE 603 Echorec, but that creates a slightly different delay rhythm than the album sound. I started off with a Binson Echo unit, which is like a tape loop thing. It was used for the early live version of On the Run in 1972, the third Money solo, and used on Pink Floyd tours until 1975. You can use two delays in series (one after the other) or in parallel (each in a seprate signal path) to get David's multi-head Echorec style repeats. The delay time and your playing must be precisely in time with the song tempo, so it takes some practice to perfect this style of playing. This obviously means that a lot of guitarists want to be like him. David Gilmour Sound Part 4/4: DELAY & SETUP HISTORY Musicoff - Where Music Matters 129K subscribers Subscribe 1.4K 243K views 11 years ago David Gilmour ed il suo suono al centro della. The 4/4 delay can barely be heard on the studio recording and is really not necessary, but it is fun to experiment with two delays. Head 2 = 150ms (or 75ms x 2)..Head 2 = 190ms (or 95ms x 2) It is impossible to achieve the exact same tone as a player without using the same equipment. It sounds very complex because the delay is filling in and creating a rhythm in between the notes David plays, but it is actually rather simple to do. R channel -- 1400ms with two repeats. That keeps you from getting a loud, double-tappy mess. Gilmour used the TC Electronic 2290, but any digital delay will do. The reason David used multiple delays was to set each for a different delay time setting for specific songs and to adjust delay time on-the-fly during shows. 380ms -- feedback: 3-4 repeats, On The Turning Away - 1991 live Amnesty International Big 3 O version: Place the volume pedal before the delay in the signal chain so when you drop the volume to zero the delay repeats still decay naturally. You could get some wonderful delay effects that aren't attainable on anything that's been made since. It had a maximum delay time of 320ms, but could be expanded to 1280ms by adding additional memory chips. 650ms delay first, with 2 repeats, and 1400ms delay second with 1 repeat. Other common delay times were 380, 440-450, 480, and 540ms. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. In order to use exact delay times it helps to have a delay with a digital display showing the time in miliseconds. For the delay, my favorite for this song is the old Boss DD-2, but any good digital delay will work. Below is an example of replicating the Syd's Theme delays from 1994. 8-10 repeats on each. If you have different subdivision settings on your delay, you can then try some of those as they will also be in time with the song tempo. Its more modern than the MXR, but it sounds just as good. The other output went to a Sound-on-Sound interface built into David's rack, which fed a second Hiwatt amp and 4x12 speaker cabinet. ANOTHER BRICK IN THE WALL PART I - This one is very similar to Run Like Hell, played in D, with a 450ms delay, around 7 repeats, with the repeat volume equal to the signal volume. The delay time on head 4 was approximately 300ms, but it could vary depending on the mains voltage. It was strange because it didn't utilize tape loops. Head 3 = 225ms (or 75ms x3) ..Head 3 = 285ms (or 95ms x 3) David and Roger Waters each had one of these amps but I think the only other recorded example of it being used was for the BBC performance of Embryo in 1968. www.gilmourish.com this website has info on Gilmours tone and gear used. WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? What delay pedal does David Gilmour? It has a digital readout, but it's really nowhere close to being accurate. Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. The repeats in the RLH studio recording sound clear and clean, so the MXR was probably the delay used for the studio recording, and it was used for the 1980-81 live performances. He set the time to 310ms for most everything. The slide parts were made up of several multi tracked recordings, each playing slightly different, but similar phrases. - Most of the delay times David Gilmour used in the early 1970s with Pink Floyd were around 300ms long, since that was the approximate delay time of head 4 on the Binson Echorecs he was using at the time. I have split the 5.1 stem channels apart from the surround sound mixes of all of the Pink Floyd and Gilmour's solo albums to hear the individual elements. Set it to about 370 milliseconds, mix it low, and set the repeats to about 3-4 times. delay 2 time: 360ms, Us and Them - Pulse version (TC 2290 Digital Delay): Below is a clip illustrating plate reverb from a Free The Tone Ambi Space stereo reverb pedal. This is actually not quarter-note triplets. That sounds complicated, but to recreate this sound all you really need is one digital delay set to 380ms, as David did whenever he played it live. For David's 2006 rig one output from his Mk 2 Cornish-built pedalboard went to his main Hiwatt amp and 4x12 speaker cabinets. -, David Gilmour interview by Bob Hewitt from Guitarist, June 1986, FINDING THE "TRIPLET" TIME DELAY FOR A SONG. David could play a chord while the delay rhythm repeated, and jump back to the delay rhythm before the repeats stopped, almost as if there were two guitars playing. So why don't you hear the repeats most of the time? Volume 85% By the way, you might also want to check out our top picks for the best delay pedals, our guides to the delay pedals used bySlashandEddie Van Halen, as well as our tips for where to place your delay in the chain withreverbandchoruspedals. delay time for intro and verse slide guitar: There are three different delay times on the repeats and they are slightly offset, Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. 80x2 = 160. The delay used must have a "kill dry" or "dry defeat" mode, which means ONLY the 100% wet delay signal is sent to the output of the delay, none of the dry signal. There are a few occasions where I have heard spring reverb in a Gilmour recording, but it is very rare. He did sometimes use the Swell mode. Then I play just the muted note rhythm so you can hear what it sounds without the delay, then I turn the delay on while playing. Multiply 600 x 75% to get the triplet time delay of 450ms (or divide 600 by 4 to get the quarter note time of 150ms, multiply that X3 for a triplet time, which equals 450ms). 430ms, Faces of Stone - 2015/16 live version: RUN LIKE HELL - This is one of the standout tracks from Pink Floyd's The Wall double album, with music written by David Gilmour. You can also add a second delay in series to thicken the sound, combining the 3/4 time with a 4/4 time delay. It also had delay width and frequency knobs in the Sweep section to add some chorus, vibratto, and flange effects, but I think David rarely used those, if ever. How to Set Two Delays for Run Like Hell - one in 380ms and one in 507ms, in series so the 380ms delay is repeated by the 507ms delay (actual DD-2 settings shown above), Example of Two Delays Run In Stereo - parallel delays, 380ms (both channels) and 507ms (right channel only), going to separate amps, Example of Two Delays Run In Stereo - prallel delays, 380ms (left channel) and 507ms (right channel), going to separate amps. ECHOREC DELAY - David was a heavy user of the Binson Echorec from his early days with Pink Floyd in 1969 until the late 1970s. David almost always uses delays in his live rigs, not reverbs. It is meant to simulate the sound of old analog tape delays as they aged. David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. The fact that these two delays were studio effects may explain why David never played the slide parts live in the original Dark Side of the Moon concerts. Echorec head 4 = 312ms / Echorec head 1 - 78ms In this clip I'm using Coming Back to Life as a reference with 700ms. The repeats had a warm high end roll off, similar to David's Binson Echorecs. Remember that these settings should just be used as a starting point. Delay volume 90%. intro slide guitar: 1023ms SLAPBACK / ADT DELAY - It is not often, but ocassionally there is what sounds like a short slapback delay in Gilmour's guitar recordings, like the "dry" solo in Dogs from the Animals album. It was my very first delay and one of my favorite pedals for Gilmour-ish delay. Gilmour uses pristine delays. Some duplicate the studio album delay times and some duplicate the live delay times. One of the only audible examples of the multi heads in use in a Pink Floyd studio recording is the intro to the song Time from Pink Floyds Dark Side of the Moon. The sustained verse chords and chorus chords (the "run, run, run" part) were also double tracked with the same delay time, but slightly less repeats. It's all on a D pedal. solos: 430ms, Yet Another Movie: Note or mark that time setting on your delay. ..delay #2 MXR Digital Delay System II (switched on at start of unison bends when mirror ball opens): 720ms I used a Free the Tone Future Factory delay set for 300ms and long repeats. When I'm recording I'll often set them in tempo to the track, so although they are just acting as an echo, the echo is rhythmic in away and has a triplet and the 4/4 beat in it. Brian May (of Queen) did the same effect a few years later on Brighton Rock and Son and Daughter using his modified Echoplexes. Reaction score. Blue Light Riff - with and without delay. I use one of their old ones most of the time because the width is narrower. David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. studio . To do this manually, turn the feedback on your delay up to around 80% or so, so the repeats are almost infinite. delay 2: 430ms, In Any Tongue - 2015/16 live version: 1st delay 240ms. intro: TC 2290 Digital Delay and PCM 70 Delay: Delay 1= 470ms / Delay 2 = 94ms What is interesting about this performance is that it is probably the only time David is known to have used a tape delay. There are several reasons. slide guitar solos: 400ms, On the Run (The Traveling Section) - early live guitar version from 1972 (Echorec PE 603): tremolo effect for middle section: 294ms delay, 7-8 repeats / tremolo with gated square wave, depth set to maximum, and speed set for Money solo - studio version - multiple guitar tracks were recorded with different delay times (Binson Echorec 2 and Binson PE603): There is an EMT 140 plate reverb on David's floating Astoria recording studio and the four famous EMT 140 plate reverbs at Abbey Road studios can be heard on early Pink Floyd recordings, especially Dark Side of the Moon. He became known for this effect as he used it for his guitar solo in practically every queen concert. Too much can severely alter your guitar tone before it hits the amp, washing out the definition and clarity. Or you can simply multiply the 4/4 time x75% and get the same 3/4 time. It was usually set for single head and a fixed time at about 310ms. The Echorec 2 had a 12 position switch to select among various combinations of heads. Another option is to run two delay pedals simultaneously. slide solo: 550ms -- feedback: 4-5 repeats The long delay, and multi tracked guitars add to the smooth, lquid feel of the notes. solo: 680ms -- feedback: 1 repeat - delay level: 30% -- delay type: digital. The Mooer Elec Lady is a good, inexpensive clone of the Electric Mistress that sounds much closer to the original large box Mistress. Multiply that x3 to get the 3/4 time and you get 427.5. Bass: 5-6. It makes for a sound that really adds depth to the guitar tone in the mix, but is not cluttered by delay repeats. He came up with that basic riff that we all worked on and turned into One of these Days. solos: 375ms. I use the MXR with the read-out on it, so I instantly have the right tempo. Find many great new & used options and get the best deals for THE RULING CASTE: IMPERIAL LIVES IN THE VICTORIAN RAJ By David Gilmour **Mint** at the best online prices at eBay! Both types have been described as "warm" sounding, which can get confusing. Find the proper delay time for the song as described above, then let's do some "Echorec math". Because later in his carreer David often used both a 3/4 delay, or what he calls a "triplet", and a 4/4 delay simultaneously, mimicking the sound of Heads 3 + 4 on the Echorec. first solo and fills: 470ms Below are examples of a few ways to set up the type of parallel signal chain used in Gilmour's rigs. I use a compressor or a Tube Driver for this. It takes some practice, and you have to be very precise with your timing or you can easily get out of step with the song tempo. It also stems from the fact that analog equipment is frequently much more expensive than it is worth. Let's see some of the units he used over time. But which delay pedal(s) does/did he use? His signature sound is a combination of mellow overdrive and clean tones, awash in combinations of delay, compression, phase, chorus and reverb. Below is a link to a song-by-song list of Gilmour's delay settings, compiled from measuring the echo repeats in official releases and bootlegs of live recordings, and from delay times visible on the LCDs of his digital delays. The main delay rhythm that runs throughout the song is two guitars, one in the left channel and one in the right. A bit of delay can smooth out the unpleasant, raw frequencies you get from a fuzz box. The MXR 113 was released in 1976 and David first used it for Pink Floyd's Animals tour in 1977. If you want to use a noise gate put it right before the delay/reverb. For Run Like Hell, David's using what he refers to as "triplets".. When playing alone, I find I often turn the delay volume down, but with a band or backing track I turn it up. 1st solo: 310ms Below is an excerpt of David's bass guitar part, extracted from the 5.1 surround mix of Meddle. ..(later in song): 450ms -- feedback: 4-5 repeats -- delay level: 25% -- delay type: analog, Comfortably Numb - 1980-81 live version: Set up your preferred delay settings and beam that into your pedal. Members; porsch8. POWER BOOST PLACEMENT - The Colorsound Power Boost was an overdrive that David used throughout the 1970s. I use several of the Program Select positions for various other things, but for Gilmour it's usually just position 1, 4, and 3. His final delay was the TC Electronic 2290. - David often has a big, watery delay tone, as if he were playing in a large hall, but the actual audible echo repeats in his solos are almost absent in many cases. Dave likes it because even though it's a digital unit, it still sounds a little dirty, like a tape unit. Every aspect of his tone can change on different albums, even on different tracks of the same album! The second delay should just be accenting the first, filling the space between the 3/4 repeats. 3. In the 80s and 90s David would mostly use digital rack models such as the TC Electronic 2290. - Boss CS-2 and Dyncomp compressors first, then CE-2B chorus in left channel added, the delay added, then plate reverb added. There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment.. second solo: (early in song) 580ms -- feedback: 4-5 repeats -- delay level: 25% -- delay type: analog solo: 440ms. See all posts by Andrew Bell. Its more compact, more reliable, and just easier to use. Alan Parsons has said David was generating all the effects himself for the first solo, so this was probably spring reverb from the Twin Reverb David had in the studio. David Gilmour, as many guitarists will agree on, is an absolute legend. intro: 440ms You can change the feel of the delay repeats by cutting the 600ms delay time in half to 300ms, 1/4 time to 150ms, or double it to 1200ms, et cetera. USING TWO DELAYS - David has stated he used two delays, one in 3/4 time (dotted eighth notes) and one in 4/4 time (quarter notes). Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. He used analog delays like the Binson Echorec throughout the 1970s and one has been seen in his Medina studio from 2013-2017. Mids: 6-7. intro: 630ms -- feedback: 4-5 repeats -- delay level: 17% -- delay type: analog Basically anything prior to 1977 is 300-310ms, which is the best delay time for the Echorec IMO, and Program position 1 is the standard for most DG solos from the Echorec period, equivalent to Switch Position 4/Head 4 on a real Echorec. studio album solo: 275ms David played the first bass guitar you hear and Roger Waters played the second that comes in immediately after. Note that some people confuse mixing delays in parallel with "stacking" multiple delays or running a stereo setup with one delay going to one amp and another delay going to different amp. To get the 4/4 time delay, simply multiply 126.7 x 4 = 506.8ms. HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? You should keep in mind that these official recordings have been sweetened to sound as good as possible. The delay was such an integral part of their sound, then almost any Pink Floyd song wouldnt sound complete without Davids signature delay sounds. Gilmour used a similar gated tremolo effect for the sustained chords in the verse sections of Money, using the noise gate from an Allison Research Kepex (Keyable Program Expander) studio module, modulated with an external sine wave generator (according to engineer Alan Parsons). 8-10 repeats on each delay. The volume swells can be easily created today with a delay and a volume pedal. Delay volume 50%. The notes fade in and out, like a pedal steel guitar. 650ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Intro / Outro - Pulse version (TC 2290 Digital Delay): If you are playing at home on your amp with delay, the delay sound will be much more apparent than when you are playing with a full band, where the delay repeats will blend in the band mix much better. The settings Gilmour uses usually create a minimal effect, but his sompressors really helps to smooth out the tone and playing. solo: 430ms -- feedback: 7-8 repeats - delay level: 20% -- delay type: digital, Time - 2016/15 live version: Feedback: This is the number of audible repeats. ONE OF THESE DAYS - One of the first recorded uses of Gilmour's "triplet" delay technique using a Binson Echorec was in the song One of These Days from Pink Floyd's Meddle album in 1971. From the 1972-74 period he used the PB first in line in the signal chain for his live rigs. there is no delay on the studio recording, but the multiple multi-tracked guitars playing slightly out of time with eachother make it sound like there is delay. (requires a volume pedal before the delay in signal chain to create the volume swells), Castellorizon: second solo: 660ms -- feedback: 5 repeats, Comfortably Numb - 2015/16 RTL Tour: Solo: 440ms ? I set the vibrato to more or less the same tempo as the delay.
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