The first delay is set to 570ms, which is the 4/4 time, and the second is set to 428ms, which is the 3/4 time. solo: 540ms -- feedback: 4-5 repeats -- delay level: 18-20% -- delay type: analog, Any Colour You Like - 1994 live versions: 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. The second send went to a Roland SDE 3000 digital delay in his rack, with individual level controls for both the send and return, along with a mute switch. Although it is not often that this roll-off effect was heard in David's use of the Echorec, you can clearly hear it in the echo repeats in the very beginning of the song, I started off with a Binson Echo unit, which is like a tape loop thing. David almost always uses delays in his live rigs, not reverbs. David also had an MXR 113 Digital Delay System that could do that delay time. Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. For The Wall he switched to the MXR Digital Delay for those accurate and pristine time setups. The tremolo is from an HH IC-100 amp was used for the studio recording. first solo: 310ms -- feedback: 2-3 repeats. - In general, no - but sometimes, yes. The 4/4 delay thickens space between the main delay repeats by double tapping your 3/4 repeat with a 4/4, creating a more bouncy rhythm. On the left is my standard setting range for the early 1970s Gilmour Echorec sound. The first Money solo, for example, sounds like it is awash in spring reverb. Brain Damage - Pulse version (TC2290 Digital Delay): Breathe - studio version (several duplicated multi track recordings offset to create the long delay repeats): Breathe - Pulse version (TC2290 Digital Delay): Coming Back To Life - Pulse version (MXR Digital Delay II and TC 2290 Digital Delay): Coming Back To Life - 2015/16 live version: Comfortably Numb - 1986 live version / Columbian Volcano Appeal Concert: Comfortably Numb - Pulse version and most Division Bell tour performances: Eclipse outro: 340ms -- feedback: 3-4 repeats, Shine On You Crazy Diamond I-V (Binson Echorec): 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. Reaction score. These are 5 note scales, pretty much the simplest scale a guitarist could use. 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. 650ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Intro / Outro - Pulse version (TC 2290 Digital Delay): He would do this for each chord change in the intro to Shine On You Crazy Diamond, effectively doing both the keyboard and guitar parts all by himself. To avoid this, and to keep the dry signal more pure, the delays in David's live rigs have sometimes been split off and run parallel with the dry signal, then mixed back together before going to the amp. DELAY TYPES - ANALOG AND DIGITAL - David has used numerous types of delays in his carreer, both analog and digital. Generally speaking, the sound on the album is pretty much what came out of his amp. This the dominant delay, but there is also a 300ms delay low in the mix That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. Solo (several multi-tracked guitars): main delay 312ms / second delay to simulate offset multi-tracked guitars: 440ms, Time - Pulse version (TC 2290 Digital Delay): Based on what I hear the guitar delay levels are not much different in either song, but I noticed the delay repeats are very clear in Castellorizon, but I barely hear them in OAI . Some delays that can do this are the Boss DD2/3, TC Electronics Nova Delay, Providence Chrono Delay, Boss DD20, Free The Tone Flight Time, Eventide Timefactor, Strymon Timeline, Empress Super Delay, EHX Deluxe Memory Man, TC 2290, MXR Delay System II, and many others. David usually sets his delays in time with the song tempo, which helps hide the echo repeats. - Boss CS-2 and Dyncomp compressors first, then CE-2B chorus in left channel added, the delay added, then plate reverb added. It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. Both types have been described as "warm" sounding, which can get confusing. intro: 650ms, Coming Back To Life - 2015/16 live version: Then I play the bass rhythm clean, then with the effects on. THE BOSS DD-2 DELAY - 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. Run Like Hell Tone Building - Boss CS-2 compressor, Hartman Flanger, and two Boss DD-2 delays. David Gilmour Solo Tone Settings For "Time" . first solo: 450ms -- feedback: 4-5 repeats -- delay level: 20% -- delay type: analog There is also the "modulation" factor which is a common feaature on modern analog and digital type delays. The delay and reverb are usually not mixed particularly loud, but the overall combined wet delay/reverb mix is very effective. There are numerous modern delays that try to replicate this multi-head delay sound, like the Catalinbread Echorec, Strymon Volante, and Boonar Multi-Head Drum Echo from Dawner Prince Electronics, which David himself has used. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. It had a maximum delay time of 320ms, but could be expanded to 1280ms by adding additional memory chips. 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. It is around 294ms on the studio recording. The tape splices were then camouflaged with cymbal crashes. slide solo: moderate reverb, probably from the plate reverbs at Abbey Road studios. David's T7E and PE603 Echorecs, and even the stock Echoplexes at the time, were not capable of anything even close to that length of delay. His final delay was the TC Electronic 2290. This 3/4 and 4/4 delay can be used for more than just some Echorec effects. This unit is an incredibly versatile digital delay that many artists use. It is said that he switched from an Echorec to an MXR for ease of use. The best way I have found to create the smoothest delay is to simply set it in time with the song tempo. Start new topic; Recommended Posts. Once you have that, turn the feedback down so there are only about 3-6 repeats, adjust the delay volume to suit the song, and you are ready to go. All of the settings for this tone can be found in this PDF download below. There is a misconception that David always used the Echorec for its multi-head function, but in reality he primarily used it in single playback head mode, just like any other typical delay. SHINE ON YOU CRAZY DIAMOND 1-5 settings. Because the DDL keeps running along, you've got time to leave the pedal playing and play a couple of chords while the effects carry on - David Gilmour from Guitar for the Practicing Musician, January 1995. I turn each effect on one at a time so you can hear how they add to the tone. This pedal was a little easier to use than the Binson, and its the exact delay you can hear in The Wall. I have one for specific time settings, for things like, , so I know in numbers (delay time in milliseconds) what setting I need to use. second solo: 370ms -- feedback: 7-8 repeats -- delay level: 20% -- delay type: analogSyd's theme: 290ms -- feedback: 7-8 repeats - delay level: 20% -- delay type: analog 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. A 300ms and 380ms delay had the heads repeating in these specific delay times. Divide 240 by 3 and you get 80. Scales David Gilmour is a big proponent of the minor and major pentatonic scales. Pink Floyds and Gilmours music is timeless, and the albums are a must-listen for any musician who wishes to define and expand genres. Blue Light Riff - with and without delay. intro: David probably just uses the term triplet because what he does has a similar feel. You can check this by mute picking a single note simultaneous with a drum beat, then listen to the repeats. David Gilmour adjusting his MXR rack effects from April 1984, including the MXR 113 Digital Delay, and MXR Digital Delay System II. delay 2 time: 1100ms -- feedback: 1 repeat - delay level: 10% -- delay type: warm digital, Today - 2016/15 live version: 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. USING TWO DELAYS TO MIMIC AN ECHOREC - David stopped using the Echorec live after 1977. analog gear was not as good as digital at the time, so the belief that analog is always better than digital arose. Unfortunately the Catalinbread Swell control cannot be set as high as it needs to be for the Time intro, but it gets close. David is using two delays from a PCM70 rack delay to simulate the Echorec sound. David Gilmour is famous for his unique use of delay and echo. 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. Let's see some of the units he used over time. If you listen to a song where the band is not playing at all, like intro to Pink Floyd's Coming Back to Life, the delay repeats are very clear. - David Gilmour, Guitar World magazine. I set the vibrato to more or less the same tempo as the delay. I the clips below I play the 470ms delay first, then the 94ms delay, then both in series together. If you want this sound and have a delay that shows the time in milliseconds, follow these steps. - 2016/15 live version: BKB Tube Driver, Electro-Harmonix Electric Mistress, TC Nova delay. Last update September 2022. NOTE: This website is frequently updated. 1 2. Often during the live songs that do have very loud delays, you do hear the repeats clearly. - David Gilmour. 3. An examination of the individual tracks from some of the 5.1 surround sound studio album releases reveals both were used. BREATHE and GREAT GIG IN THE SKY SLIDE GUITAR VOLUME SWELLS - Breathe from Dark Side of the Moon features some beautiful David Gilmour slide guitar work. 380ms -- feedback: 3-4 repeats, On The Turning Away - 1991 live Amnesty International Big 3 O version: 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. There are many effect pedals that simulate those sounds, and those types of simulated reverbs are also usually called plate, room, or hall reverb. Gilmour delay: '60s-'70s: Binson Echorec II. For the multi-head Echorec sound needed when performing the intro to Time and the four-note Syd's theme section of Shine on You Crazy Diamond he used two delays, and sometimes three! Time intro - Torino, Italy, Sept 13, 1994. The delays are set in series like this: Some of the most used digital delays in his live rigs were the MXR 113 Digital Delay (1977-1986), the MXR 151 Digital Delay System II (1983-2016), the Boss DD-2 (1983-1986, 2006), the TC2290 Dynamic Digital Delay (1987-1994), and the Free The Tone Flight Time FT-1Y Digital Delay (2015-2017). The 3/4 "triplet" time will be inbetween in between these 4/4 and 2/4 settings on your delay. Alt. solo: 475ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Hey You - Pulse version (TC 2290 Digital Delay): intro and verse volume swells, first solo: 480ms -- feedback: 6-7 repeats To add some modulation and a spacious feel to the delay tone on the studio recording David used either a Yamaha RA-200 rotary speaker cabinet or an Electric Mistress flanger. The simplest option is to use an online Beats Per Minute caculator, like this one. In the studio recording the 4/4 delay is not very obvious, so it was low in the mix, possibly only in one channel, or both. It covers all of the various ways he used echo - standard 3-4 repeat echo to make the guitar sound like it is in a large hall, using a slide like a violin with long delay repeats, slapback echo, swell mode, long repeats almost to the point of self oscillation, and what David calls "triplet" time, where he plays in time with the dotted eighth repeats. tremolo effect for middle section: 294ms delay, 7-8 repeats / tremolo with gated square wave, depth set to maximum, and speed set for Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. Tim Renwick solo: 520ms, Louder Than Words: Below is my replication of that 1984 ADT sound using two delays in series to two different amplifiers, in stereo. Delay volume 85% The second is around 94ms, which is 1/5 of 470 (470/5=94). A little later he switched to the MXR Digital Delay. Set the 600ms dealy to half the repeats of the main delay, with a MUCH lower delay volume. In 2006 the dry signal split off at the end of his pedal board signal chain into two separate loops, each going to a separate delay. Kits Secret Guitar, Gear, and Music Page Below are some specific Gilmour settings I use. 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. 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. That's another one of the personal esthetic judgments that you use in trying to get something to sound nice to yourself. Head 1 = 1/4. intro: 630ms -- feedback: 4-5 repeats -- delay level: 17% -- delay type: analog You can also play in time with the delays in a kind of shuffle rhythm. second solo delay #1 TC2290 Digital Delay (whole solo): 480ms Too much volume from the first delay will make a mess of double tapped delay sounds on the second, so be careful not to over do it. Too much can severely alter your guitar tone before it hits the amp, washing out the definition and clarity. 540ms, Take A Breath: If the repeats are faster than the tempo, increase the delay time. The tempo is much slower, but the delay is played in 3/4 "triplet" time, exactly like RLH. He has a 2.2 second delay on the guitar so he can play over his repeats, building up layer upon layer of guitar repeats. Free shipping for many products! The tone is broken down to illustrate what each effect adds to the sound, in this order: Boss CS-2 compressor, Boss CE-2 chorus, Boss RT-20 Rotary Ensemble, FTT Future Factory stereo delay, BKB/Chandler Tube Driver. I'll keep this simple rather than going into an explanation of time signatures. Here is a clip of a single 330ms delay playing the Blue Light riff. Its a core part of Pink Floyds earlier sound, and not just for Davids guitar. slide guitar solos: 300ms, One Of These Days - 2015/16 live version: The MXR Digital Delay System II was an upgraded version of the 113 that showed the delay time in milliseconds on the front panel and featured additional fine tuning controls. This is something us Gilmour fans have sought to recreate in our own playing. - David Gilmour from Guitar for the Practicing Musician, 1985. It can be simulated with a short 40-50ms digital delay with one repeat, like this: PARALLEL MIXING DELAYS - Stacking one delay after another in your signal chain can degrade your tone because your original signal travels through, and is altered by, two delay circuits before coming out the other end. Using two delays to simulate the multi head Echorec effect - 470ms and 352ms. David was very much in control of his sound system We rarely added effects to his guitar in the control room. Volume 65% 1st solo: 435ms For the wet 1st and 3rd solos from Money I use basically the same settings, but I dial the mix knob up a bit for the third section after the dry solo. The long delay, and multi tracked guitars add to the smooth, lquid feel of the notes. You should keep in mind that these official recordings have been sweetened to sound as good as possible. There are several reasons. Below are settings to get that sound. When playing alone, I find I often turn the delay volume down, but with a band or backing track I turn it up. A good chorus like the Boss CE-2 or CE-5 can also be used in place of the flanger. His first was an MXR 113 Digital Delay System, one of MXR's first rack effects. You might be tempted to make it ear piercingly loud, but trust me on this, a little goes a long way, especially when playing with other people. The repeats had a warm high end roll off, similar to David's Binson Echorecs. Alternate (Pulse): Delay 1 = 430ms / Delay 2 = 1023ms, Hey You: Below is an isolated excerpt of this part. The first delay is definitely set to 470ms, which is the 4/4 time. The last 8 minutes of the song is a rambling collage of echo repeats. Use the feedback option to set it right where you think it sounds closest. I use the MXR Digital Delay. - David from Guitar Player Magazine, November 1984, I have a bunch of pedals - 4 DDL's - which I use in different combinations, MXR Digitals and the little Boss DD2'sI usually have one DDL with a short single slap on it. This is probably spring reverb from David's Twin Reverb. delay 1: 90ms He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. I am talking about the natural reverb sound of the room or hall the amplifier or speaker cabinet was recorded in, or studio reverb added to simulate it. David also used the triplet delay setup on many other songs such as One of These Days from Pink Floyd's Meddle, Give Blood from Pete Townshend's White City, Blue Light from David's second solo album, About Face, The Hero's Return from Pink Floyd's The Final Cut, among others. Its also easier for live situations as changes can be made on the fly. Last update July 2022. You must remember this, Those settings are used for a stadium show, set to produce for a huge arena, not your 8 x 10 bedroom, and not your 100 x 100 bar. I use chorus, little delay and some reverb on my amps clean setting. When using both the mono and stereo outputs together (each running to a separate amp) the DD-2 produces a very defined stereo field, with one channel being the dry signal only, and one being the delayed signal only. For the delay, my favorite for this song is the old Boss DD-2, but any good digital delay will work. All those divisions and subdivisions will be in time with the song. *While I did a ton of work figuring out many of these delay times, a big thanks goes to Raf and the fine folks at the Gilmour Gear Forum for providing some of the delay times and to Will for compiling a list of the 2015/16 tour delay times seen on David's digital delays! Gilmour's Binson Echorec 2 model T7E from 1970-71. One day, Roger decided to take some of the techniques that I was developing and try them out himself on bass. Here is my example of this sound. second solo: 480ms -- feedback: 6-7 repeats Multiply that number by 75% to get the triplet time delay. There are times when I have both running at the same time for certain effects. Below is a clip illustrating plate reverb from a Free The Tone Ambi Space stereo reverb pedal. All rights reserved. solos: 430ms, Yet Another Movie: To sound like David Gilmour of Pink Floyd, start with the following amp settings: Gain: 3-4. Members; porsch8. verse / chorus: 435ms, Wearing the Inside Out: He usually had the time set to 440ms. Its not rare to see Pink Floyd play 10-minute long solos over what can only be described as atmospheric playing from the band. Questa guida al setup di David Gilmour vuole essere d'aiuto per tutti coloro che volendo ricreare il sound che David ha utilizzato in un'album, in un tour o in una specifica canzone, sono alla ricerca dei setting precisi di ogni effetto usato da Gilmour. - David Gilmour, Guitar World magazine. This setup can also be used for songs like On the Turning Away and Sorrow.--------------------------Signal chain:Guitar - Fender Stratocaster, with D Allen Voodoo 69 neck and middle pickups and Seymour Duncan SSL5 bridge pickupAmp - Reeves Custom 50, Laney LT212 cabinet with Celestion V30 speakersMic - Sennheiser e906Follow Gilmourish.Com here:http://www.gilmourish.comhttps://www.facebook.com/pages/Gilmouhttp://www.bjornriis.com Andrew Bell has 42 posts and counting. HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? This would not only be one of the only times David is known to have used a tape delay effect live, but he seems to have used it much earlier than other guitarist more well known for this effect. Kits Secret Guitar, Gear, and Music Page. David used the DD-2 extensively in the mid to late 1980s, as well as using a Pete Cornish Tape Echo Simulator (TES) in 2006, which was a Boss DD-2 circuit with a selectable roll-off filter added to simulate the worn tape head sound of old tape delays like the Binson Echorec. Dan's Pick No.1: Pro-Co RAT (79) David Gilmour, or Dave to his friends, has had a constant development of tone over the four decades he's been knocking around making classic album after classic album. 1st delay 240ms. delay 1 time: 90ms Multiply that x3 to get the 3/4 time and you get 427.5. alternate 2nd Solo: (start of unison bends after ball opens) Delay 1 = 540ms / Delay 2 = 730ms, Comfortably Numb - 2006 OAI Tour: It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. It's all on a D pedal. David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. But delay is not the only effect that Gilmour tends to use. It is impossible to achieve the exact same tone as a player without using the same equipment. 650ms delay first, with 2 repeats, and 1400ms delay second with 1 repeat. David used a Binson Echorec for his delay at the time DSOTM was recorded, but the Binson cannot create a delay as long as 440ms. Try playing the Comfortably Numb solo with a 380ms delay with 4-6 repeats, versus a longer 540-600ms delay to hear the difference. 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. Playing the RLH Rhythm Fills - with and without the delay, Playing the RLH Verse Chords - with and without delay. Fat Old Sun- 2015/16 live version: As the recording drum and playback heads aged there was a slight loss of high end that added a unique high end roll-off as the echoes decayed, . Another interesting effect heard in the middle section of One of These Days is the use of that same "triplet" time delay along with a gated tremolo effect. Shown below are some typical Gilmour DD-2 delay times. intro: 425ms delay 1 time (main delay): 380ms -- feedback 8-10 repeats - delay level: 95% -- delay type: digital From long sustained notes that seem to go on forever, to the most tasty of blues licks, his sound is instantly recognizable. NOTE: This website is frequently updated. solo (Pulse): 490ms, Astronomy Domine - Pulse version (MXR Digital Delay System II for solo) Delay time depends on the era. April 9, 2022. by Joe Nevin. The Echorec 2 had a 12 position switch to select among various combinations of heads. Head 3 = 225ms (or 75ms x3) ..Head 3 = 285ms (or 95ms x 3) . All these effects can be heard in most of Pink Floyds discography. Read an explanation about how this is achieved here. David used various Echorec models but he was most known for using the Echorec 2 model T7E. Some duplicate the studio album delay times and some duplicate the live delay times. second solo: 500ms - feedback: 3-4 repeats -- delay level: 15% -- delay type: analog, Shine On You Crazy Diamond I-V Syds theme - 2016/15 Live version: third solo (after dry solo): 380ms -- feedback: 2-3 repeats. www.gilmourish.com this website has info on Gilmours tone and gear used. I use two delay pedals for Run Like Hell. First is the delay, then the square wave tremolo, then both together. For his 2015 tour he used a Providence Chrono Delay and two Flight Time delays. second solo: (early in song) 580ms -- feedback: 4-5 repeats -- delay level: 25% -- delay type: analog Set the delay time so the repeats are in time with the song tempo (beats per minute) or drum beat, approximately one repeat for every beat. Delay Level: This is the volume level of the delay repeat compared to the original signal. slide solo: 550ms -- feedback: 4-5 repeats He did sometimes use the Swell mode. The Echorec playback heads were spaced so the input signal would repeat at specific intervals, adding delay repeats upon delay repeats. The settings Gilmour uses usually create a minimal effect, but his sompressors really helps to smooth out the tone and playing. 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. Gilmour uses pristine delays. The delay time must also be precisely in time with the song tempo. The SELECTOR knob had three positions: ECHO = one repeat, REPEAT = more than one repeat, and SWELL = outputs of the playback heads were fed back to themselves to create a spacey type of reverb effect. I don't think I'll ever stick to one instrument - but the great thing about life is you don't have to. But fear not, if you want a semi-authentic Echorec experience, Catalinbread makes an Echorec pedal that sounds very close to the original.
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