To get the 4/4 time delay, simply multiply 126.7 x 4 = 506.8ms. which is what gives the verse section that floaty, ethereal feel. Alt. David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. In this video I'm demonstrating how to set up your David Gilmour delay sounds and settings. When he played Shine on You Crazy Diamond in his 2015 live performances he used three delays to replicate the old Echorec sound, two Flight Time delays and an MXR Delay. HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? HH IC-100 amplifier with built in tremolo. David Gilmour is known for using his delay creatively, mostly by sort of using it as a reverb instead of it being purely an echo. - David Gilmour, Guitar World magazine. David would use a Binson Echorec in the early days between 1968-1978. The effect actually works fine with only two delays. 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. In some of the studio recordings you are hearing the guitar delay and room sound or studio reverb, not just delay. To do this manually, turn the feedback on your delay up to around 80% or so, so the repeats are almost infinite. Fat Old Sun- 2015/16 live version: The 3/4 "triplet" time will be inbetween in between these 4/4 and 2/4 settings on your delay. All those divisions and subdivisions will be in time with the song. In fact, there was a time when Pink Floyds original road manager, Peter Watts, and I were the only two people who could actually maintain a Binson.They are so noisy, and I guess all the ones weve got now are so old that it is impossible to keep them noise free. 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. It also had a similar Sweep section to create chorus and flange effects, but every photo I can find showing this rack delay in David's live rigs shows the sweep knobs set to zero. 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. 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. The specific delays he used were as I said the Binson Echorec, the MXR M-113 Digital Delay, and the TC Electronic 2290. 2nd delay 375ms. 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. second solo before verse: 350ms -- feedback: 3-4 repeats The fill patterns played in the verse section sound dry, with almost no delay. - engineer Alan Parsons, on the 1973 Dark Side of the Moon sessions, (left to right) Gilmour's Binson Echorec 2 and Echorec PE 603 stacked on top of his Hiwatts from 1973, and an Echorec 2 from 1974, Binson Echorec PE 603 like the one Gilmour used from 1971-74 in his live rigs. slide guitar solos: 300ms, One Of These Days - 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 simply have to practice your timing so you can play the fills and get back to the D rhythm note exactly in time with the delay repeats. It was my very first delay and one of my favorite pedals for Gilmour-ish delay. Each was set to 380ms, 7-8 repeats, with the delay volume almost equal to the signal volume. Using two delays to simulate the multi head Echorec effect - 470ms and 352ms. 614ms -- feedback: 6-7 repeats, Rattle That Lock: David Gilmour Delay Time Library - Kit Rae If you want to use a noise gate put it right before the delay/reverb. 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. Fine tune it until you hear the repeats are exactly in sync with the song tempo. analog gear was not as good as digital at the time, so the belief that analog is always better than digital arose. Comfortably Numb: rhythm and solo: 460ms, Brain Damage - Pulse version (TC2290 Digital Delay): 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! Free shipping for many products! Some duplicate the studio album delay times and some duplicate the live delay times. buildup and arpeggio delay time: 300-310ms -- feedback: 7-8 repeats - delay level: 40% -- delay type: analog/digital, Eclipse It was used for the early live version of, 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. This effect seems like reverb, but it is much different and less tone-robbing than reverb (reverb was almost never used in a Gilmour rig). solos: 300ms -- feedback: 3-4 repeats - delay level: 15% -- delay type: analog It's fun to just jam around using the unique delay rhythm it creates. Sound like David Gilmour (Pink Floyd) By Busting The Bank! delay 1: 90ms delay 1: 430ms -- feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital April 9, 2022. by Joe Nevin. The secrets behind David Gilmour's tone on Pink Floyd's Comfortably solos: 375ms. delay time for both solos: 465ms or 480ms - feedback: 15-20% -- delay level: 20% (30-35% for waving part) -- delay type: digital, Comfortably Numb - Pulse version and most Division Bell tour performances: Set it to about 370 milliseconds, mix it low, and set the repeats to about 3-4 times. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. 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. First you hear a single muted note picked with a 294ms delay set for 7 repeats (played twice). I set the vibrato to more or less the same tempo as the delay. - David Gilmour from Guitar for the Practicing Musician, 1985. One day, Roger decided to take some of the techniques that I was developing and try them out himself on bass. Both types have been described as "warm" sounding, which can get confusing. He notoriously used a Binson Echorec for his delays, and many other vintage pedals and studio outboard gear to achieve his tone. 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. To figure a 4/4 dealy time to work with any 3/4 triplet delay time, you can split the 3/4 time delay into thirds. Program Position 5 is equivalent to Switch Position 7 on the real Echorec, which is Head 4 + Head 3. As I said before, he often doesnt just use the delay to make his solos fit in the particular vibe of the song, but also the help build the rest of the soundscape. This creates a different bouncy feel to the delay rhythm. This pedal was a little easier to use than the Binson, and its the exact delay you can hear in The Wall. alternate 2nd Solo: 540ms BKB Tube Driver, Electro-Harmonix Electric Mistress, TC Nova delay. Its not a cheap pedal (around 250$ new), but its way cheaper than an original. Anyone got some David Gilmour delay settings To add space to your tone, add a clean digital delay at the end of your signal chain. 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. I use two delay pedals for Run Like Hell. David Gilmour Solo Tone Settings For "Time" . second solo: 560ms -- feedback: 3-4 repeats, On An Island - 2006 live versions: He came up with that basic riff that we all worked on and turned into One of these Days. Delay volume 90%. If running both delays in series, set the repeats however long you can go before oscillation starts, which is 8-10 repeats on most delays. As the chord rang on, David could then play the melody lines through his main Hiwatt. The tempo used in this demo is slightly too. delay 2 time: 1100ms -- feedback: 1 repeat - delay level: 10% -- delay type: warm digital, Today - 2016/15 live version: The Blue: 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. To sound like David Gilmour of Pink Floyd, start with the following amp settings: Gain: 3-4. Delay volume 50%. The TC Flashback can be set up with the Tone Print edito. The second delay David used was the MXR Digital M-113 Delay. ECHOREC DELAY - David was a heavy user of the Binson Echorec from his early days with Pink Floyd in 1969 until the late 1970s. first solo: 450ms -- feedback: 4-5 repeats -- delay level: 20% -- delay type: analog On the one hand, finally cracking one of my favourite guitar player's [] He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. This is similar to the sound David had for his 1984 live performances of Run Like Hell, as heard on the David Gilmour In Concert video released in 1984 by CBS, and the Westwood One Radio Network FM broadcast of the July 12th concert in Bethlehem Pennsylvania. It is a great example of what David calls "triplet time" delay playing, which is actually dotted eighth notes. Note that setting. 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 You could get some wonderful delay effects that aren't attainable on anything that's been made since. The third delay is probably in 3/4 time, but I can barely hear it. - 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. solo: 420ms Both in the studio and live their musicality seeps from every note, every rest, and every beat. slide solo: 550ms -- feedback: 7-8 repeats 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. I use the MXR Digital Delay. fills under second and fifth solos: 507ms -- feedback: 4-5 repeats - Pulse version (TC 2290 Digital Delay): 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. Only the 100% wet delayed signal was returned from those two delays, into a mixer where the two were blended back with the dry signal before going to the amps. Heavy reverb. Delay time depends on the era. 1st delay 500ms. middle keyboard section: 340ms -- feedback: 8-9 repeats Its more modern than the MXR, but it sounds just as good. On Reverb, the average Echorec sells for between 3500$ to 5000$. And lastly, youll want to mix it surprisingly quietly. 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. Set up your preferred delay settings and beam that into your pedal. The delay and reverb are usually not mixed particularly loud, but the overall combined wet delay/reverb mix is very effective. One of These Days - gated tremolo section isolated. first solo: 340ms -- feedback: 3-4 repeats David also had an MXR 113 Digital Delay System that could do that delay time. 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 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). It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. 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. Gilmour uses this type of delay setting on several songs in the Pink Floyd catalog, most famously in "Run Like Hell." Here is the tab for Another Brick In The Wall pt. Sort of a triplet on top of a triplet time delay. intro: 650ms, Coming Back To Life - 2015/16 live version: Head 1 = 1/4. It makes for a sound that really adds depth to the guitar tone in the mix, but is not cluttered by delay repeats. Other common delay times were 380, 440-450, 480, and 540ms. solos 2/3: Delay 1 = 360ms / Delay 2 = 650ms, Coming Back To Life - 2006 live version: Playing the RLH Rhythm Fills - with and without the delay, Playing the RLH Verse Chords - with and without delay. Ex-DragonForce Bassist Reveals Why He Really Left the Band, Claims He Was Unhappy and Arguing All the Time With Them, Nuno Bettencourt Recalls How Eddie Van Halen Reacted to His Tapping Technique, Names Favorite Van Halen Album. REEL-TO-REEL SOUND-ON-SOUND - David did an early version of sound-on-sound way back in October of 1970, in one of the few times Pink Floyd performed Alan's Psychadelic Breakfast live. These were state of the art delays at the time, but were rather noisy effects compared to modern digital delays. 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. Also, two delays in line, while useful for some double tap delay effects, means that the repeats from the first delay are then repeated again by the second when both are used at the same time, which can sometimes create a mushy mess of repeats. Syd's theme: 375ms and 500ms Great Gig Slide Guitar Breakdown. Gilmour delay: '60s-'70s: Binson Echorec II. Head 1 = 75ms .Head 1 = 95ms. Two guitars were multi tracked in the left and right channels. 430ms, Faces of Stone - 2015/16 live version: Shown below are some typical Gilmour DD-2 delay times. Its a famous echo unit used by many artists, and useful for varying instruments. It has a digital readout, but it's really nowhere close to being accurate. 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. You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms). Note or mark that time setting on your delay. HOW TO FIND THE PROPER DELAY TIMES - You can go here for a song-by-song list of Gilmour's delay times, but it is easy to find a delay time that works with a song tempo, even if you can't clearly hear the echo repeats when listening. 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): It's a sort of melodic delay to use. - 2016/15 live version: The repeats had a warm high end roll off, similar to David's Binson Echorecs. 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). 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. Often during the live songs that do have very loud delays, you do hear the repeats clearly. It was set for a light overdrive setting and was most likely an always-on pedal. He used both in his 1980s live rigs, and continued to use the MXR System II up until 2016. The first delay is definitely set to 470ms, which is the 4/4 time. David Gilmour was the guitarist for English rock band Pink Floyd. David Gilmour Lead Guitar Tone PDF Download I used a Free the Tone Future Factory delay set for 300ms and long repeats. intro: 780ms, Coming Back To Life - Pulse version (MXR Digital Delay II and TC 2290 Digital Delay): Start new topic; Recommended Posts. verse/chorus sections: 310ms -- feedback: 3-4 repeats, Shine On You Crazy Diamond I-V - 1987-89 live version: There are several parallel looper pedals that can be used for the actual "looping" part of the setup. volume swells: 1100ms -- feedback: 4-5 repeats. delay 1 time: 90ms DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. Then go to a website with a Delay Time Calculator, like the one on this page. You can check this by mute picking a single note simultaneous with a drum beat, then listen to the repeats. These three separate channels are blended back together with the original dry signal at the end of the signal chain. Record yourself playing alone verses playing along with a backing track to see what I mean. This unit is an incredibly versatile digital delay that many artists use. I use 240ms. There are many effect pedals that simulate those sounds, and those types of simulated reverbs are also usually called plate, room, or hall reverb. David's Echoes delay time of 300ms, one for the delay in Time, and 423ms in the display. #4. Money solos - live 1977 version (MXR Digital Delay System I): For most of his 2016 tour he used multiple delays for those parts, but switched to using a Boonar Multi-Head Drum Echo digital delay from Dawner Prince Electronics for the last few concerts. Flashback/David Gilmour | The Gear Page Below is an excerpt of David's bass guitar part, extracted from the 5.1 surround mix of Meddle. Time intro - Isolated guitar from studio mix. The PE 603 Echorec had similar controls, but rather than having a switch to select different combinations of the four playback heads, it had individual switches for each head. I list a number when I can clearly hear them, otherwise 4-5 repeats is usually close. Too much can severely alter your guitar tone before it hits the amp, washing out the definition and clarity. This unit can also be heard on the The Wall album. His delay times are slightly faster here. I often hear a guitar recorded dry, a reverb only track, and a delay only track. The delays are set in series like this: For Run Like Hell, David's using what he refers to as "triplets".. Gilmour's guitar playing is an integral part of this sound. Try playing the Comfortably Numb solo with a 380ms delay with 4-6 repeats, versus a longer 540-600ms delay to hear the difference. Other than a few instances like that, reverb from David rig was not used and I do not recommend it. Tutorial - Run Like Hell (David Gilmour) Delay Setting - YouTube If you break the beat into a four count, that second repeat would be on 4. The simplest option is to use an online Beats Per Minute caculator, like, - 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. Every aspect of his tone can change on different albums, even on different tracks of the same album! verse: 360ms WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? solo: 380ms -- feedback: 5-6 repeats, Marooned - 1994 live version: Digital delays are cleaner and sharper sounding, more like an exact repeat of the original dry sound. The primary reason is becasue the delay time is usually set in time with the tempo of the song, so each repeat lands on the beat. delay 2 time: 360ms, Us and Them - Pulse version (TC 2290 Digital Delay): The delay time must also be precisely in time with the song tempo. solo: 430ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Keep Talking: 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. Although it is simple to play, you must play exactly in time with the delay or it will sound sloppy. 570 x 75% = 427.5. Breathe Intro Using One Delay - One 440ms delay with 4-5 repeats also works well. The delay was such an integral part of their sound, then almost any Pink Floyd song wouldnt sound complete without Davids signature delay sounds. His tone is instantly recognizable and unique. Electric Mistress V2, V3, or V4: third (dry) solo: simulate studio ADT with a 40-50-ms slapback delay -- feedback: 1 repeat I'm not saying David sounds nothing like this live, but you are hearing the natural hall or stadium reverb of the venue in these recordings and in many cases, studio reverb added in the mixing stage. 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. 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. Brian Eno did something similar later in the early-mid '1970s with his famous reel-to-reel frippertronics tape delay effect. The Different Effects Used By David Gilmour Throughout His Career Here is a breakdown from the Great Gig multi tracks. 480ms: feedback: 7-8 repeats - delay level: 75% -- delay type: clear digital, Sorrow: A little later he switched to the MXR Digital Delay. If you have a subdivisions setting (quarter notes, eighth notes, dotted eighth notes, et cetera) set it to quarter notes, or the normal setting. You can also play in time with the delays in a kind of shuffle rhythm. There is a also bit of light overdrive in the tone. His most commonly used delay times were in the 294-310ms range and 430ms. 3rd solo: 430ms, Money solos - 2015/16 live version: But the delay was in 3/4 increments of the beat and the vibrato went with the beat. The early Boss DD-3 pedal had exactly the same circuit as the DD-2. REVERB OR NO REVERB ? I do hear what sounds like multi-head repeats in the chorus section of the first band demo however, so that could have been the Echorec. There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment.. That ADT slapback sound can also be heard on other Run Like Hell concert recordings, like Delicate Sound of Thunder, Pulse, and David Gilmour Live at Pompeii, but to a lesser effect. - David Gilmour, Guitar World March 2015, As I recall, he (David) used a Hiwatt stack and a Binson Echorec for delays. 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. However, it is possible to play this one one guitar. The tape splices were then camouflaged with cymbal crashes. solo: 400ms, Raise My Rent: Dec 23, 2015. Below is an example of replicating the Syd's Theme delays from 1994. The Boss LS-2 Line Selector, Xotic Effects X-Blender, Lehle Parallel, and Badger Schism are a few that do the job. There are several reasons. Sort of a triplet on top of a triplet time delay. It's just like the old Echoplex unit, David bought an Echorec PE 603 model in 1971 that had a maximum delay time of around 377-380ms. You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms). 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. - Boss CS-2 and Dyncomp compressors first, then CE-2B chorus in left channel added, the delay added, then plate reverb added. Although he often blends different types of delays, creating rich textures and layers, I'm going to break it down into four signature setups covering each era. intro: TC 2290 Digital Delay and PCM 70 Delay: Delay 1= 470ms / Delay 2 = 94ms The slide parts were made up of several multi tracked recordings, each playing slightly different, but similar phrases. Brian May (of Queen) did the same effect a few years later on Brighton Rock and Son and Daughter using his modified Echoplexes. When he began using digital delays in 1977 he started to use longer delay times and specific times to rhythmically work with the song tempos. Dave likes it because even though it's a digital unit, it still sounds a little dirty, like a tape unit. It features two separate bass guitar tracks played in time with a single head delay (head 4) from the Echorec. Great, lets get started. Gilmour used the TC Electronic 2290, but any digital delay will do. David's pedal board had two Boss digital delays, but he also had an MXR 113 Digital Delay System and MXR Digital Delay System II in his rack. If you get too high a quality bandwidth on a DDL you hear too much pinging and lose the sort of echo effect I use it for. Even though the DD-2 delay chip only produced a 12 bit sample, the circuit blended part of the clean signal back in, producing a crisp, accurate digital repeat. intro: 640ms: feedback: 4-5 repeats - delay level: 25% -- delay type: clear digitalsolos: 540ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Solo and intro/outro - Delicate Sound of Thunder version (TC 2290 Digital Delay): solo: 540ms, Poles Apart - Pulse version (TC 2290 Digital Delay): 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 settings for Pink Floyd's David Gilmour sound 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. Then I have two regular Boss units (DD2) which I set so one works in a triplet and the other in a 4/4 time - they're actually set in time with each other, so they combine and make a nice sound. intro: 630ms -- feedback: 4-5 repeats -- delay level: 17% -- delay type: analog If your delay does not have a dry defeat feature, it is pointless to use in a parallel setup. 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. Volume 65% Delay volume 65% It's actually a metallic disc that spins around. 3. 1st delay 428ms. 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.
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