In live performances he usually used playback Head 4 for the maximum delay time of around 300ms. delay 2: 275-290ms -- feedback: 5-7 repeats - delay level: 25% -- delay type: analog, Short and Sweet - David Gilmour live 1984 version (Boss DD-2): 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. middle keyboard section: 340ms -- feedback: 8-9 repeats Shorter delay times are more obvious because the repeats are heard in between notes and phrases. 1st delay 240ms. 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. A few of David Gilmour's vintage Binson Echorec 2 model T7E delays. A little later he switched to the MXR Digital Delay. Echorec 2 ..Echorec PE 603 They averaged from 290-310ms. intro: 630ms -- feedback: 4-5 repeats -- delay level: 17% -- delay type: analog The Tone From Heaven: SETTINGS The type of multi-head repeats varied depending on which of the four playback heads were selected. The first send went to a volume pedal. 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. Play the note, let it repeat, then play the note a second time where the 1400ms repeat would be. I use the Tremotron from Stone Deaf Effects for this. Often what I hear in the recordings is just natural room or hall reverb. 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. With that said, the rest of the article is designed to . To get the 4/4 time delay, simply multiply 126.7 x 4 = 506.8ms. It makes for a sound that really adds depth to the guitar tone in the mix, but is not cluttered by delay repeats. 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. His delay times typically ranged from 300ms-550ms, with 5-8 repeats, but some songs required more specific delay times and settings, as detailed below. I use the MXR with the read-out on it, so I instantly have the right tempo. Two delays running at different times fill in gaps between delay repeats, making the delay sound smoother with less obvious repeats. ECHOREC DELAY - David was a heavy user of the Binson Echorec from his early days with Pink Floyd in 1969 until the late 1970s. On Reverb, the average Echorec sells for between 3500$ to 5000$. alternate 2nd Solo: 540ms David probably just uses the term triplet because what he does has a similar feel. On the one hand, finally cracking one of my favourite guitar player's [] If you have a second delay, set that one in series to 930ms, 4-5 repeats, 30-35% volume. 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. solo: 540ms, Poles Apart - Pulse version (TC 2290 Digital Delay): The mode should always be set at 800ms, unless you want a short slapback delay for something like the dry solo in, Kits Secret Guitar, Gear, and Music Page. 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. 360ms -- feedback: 8 repeats -- delay level 100% -- delay type: digital, Great Gig in the Sky - live version DELAY TYPES - ANALOG AND DIGITAL - David has used numerous types of delays in his carreer, both analog and digital. Note that I am not talking about spring or amp reverb, or a reverb pedal, which is a completely different sound. VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net, This website is frequently updated. Set the value to quarter notes, enter the BPM, and you have a delay time in milliseconds the same tempo as the song. 1st solo: 310ms 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. 480ms: feedback: 7-8 repeats - delay level: 75% -- delay type: clear digital, Sorrow: David Gilmour Tone Building- Signal Chain Order - Kit Rae But fear not, if you want a semi-authentic Echorec experience, Catalinbread makes an Echorec pedal that sounds very close to the original. 520ms -- feedback: 5-6 repeats - delay level: 20% -- delay type: analog, Money solos- Pulse version (TC2290 Digital Delay): Last update July 2022. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. This 3/4 and 4/4 delay can be used for more than just some Echorec effects. The first delay is 380ms, 10-12 repeats, delay voume 95%. Many of the sound effects youll hear on the earlier albums were created with this machine. Below is my replication of that 1984 ADT sound using two delays in series to two different amplifiers, in stereo. On the extremely rare occasions that David did use mulitple heads it was usually position 7, which was Head 3 + Head 4, 225ms + 300ms. The first delay is definitely set to 470ms, which is the 4/4 time. Solo: TC 2290 Digital Delay: 430ms, Time - Delicate Sound of Thunder version (TC 2290 Digital Delay) : 380ms -- feedback: 3-4 repeats, On The Turning Away - 1991 live Amnesty International Big 3 O version: The mode should always be set at 800ms, unless you want a short slapback delay for something like the dry solo in Dogs. This is something us Gilmour fans have sought to recreate in our own playing. In the studio recording I hear one guitar playing the single note triplet time rhythm, a second guitar playing the fills, and a third guitar playing occasional accents on top of the fills. 2nd delay 375ms. david gilmour delay settings | London Guitar Academy Run Like Hell with 380ms and 254ms delays in series - first is 380ms delay in the left channel, then 380ms+254ms in the right channel. second solo delay #1 TC2290 Digital Delay (whole solo): 480ms The 450ms delay should come before the 600ms delay in your signal chain. Using two delays to simulate the multi head Echorec effect, Below is an example from 2016 of David Gilmour using three delays to simulate the Echorec sound in, - One of the first recorded uses of Gilmour's "triplet" delay technique using a Binson Echorec was in the song, - This is one of the standout tracks from Pink Floyd's. Warm for an anlog delay usually refers to the high end roll-off decay, and warm for a digital delay usually means the repeats are not brighter or harsher than the original guitar signal, but are the same or have slightly less high end. I was able to dismantle them, put them back together, and change the head positioning. 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). This the dominant delay, but there is also a 300ms delay low in the mix Copyright Kit Rae. Gilmour's guitar playing is an integral part of this sound. Then I play the bass rhythm clean, then with the effects on. 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. The delay and reverb are usually not mixed particularly loud, but the overall combined wet delay/reverb mix is very effective. The delay volume is often not very loud in the studio recordings, so in a full band context, the other instruments mask the repeats. 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. 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. Most analog type delays have a lower quality repeat decay that rolls off more high end on each repeat. Playing the RLH Rhythm Fills - with and without the delay, Playing the RLH Verse Chords - with and without delay. 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. The effect actually works fine with only two delays. If you don't have a delay with a millisecond display, it is still possible to find the proper 3/4 delay time in a 4/4 time signature. Mar 8, 2013. Great Gig Slide Guitar Breakdown, Here's another, starting with the dry guitar in the left channel, then the right channel with the 440ms delay. 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. David often uses long echo delays to help create a his big, smooth, and liquidy solo tones. slide guitar: 440ms -- feedback: 5-6 repeats -- delay level: 30-35% -- delay type: analog Alans Psychadelic Breakfast with 2.2 second tape delay_Oct 1970. This unit can also be heard on the The Wall album. 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. You can also do the volume swells with the guitar volume knob, although it is much easier with a volume pedal. David almost always uses delays in his live rigs, not reverbs. Both types have been described as "warm" sounding, which can get confusing. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. The early Boss DD-3 pedal had exactly the same circuit as the DD-2. It also stems from the fact that analog equipment is frequently much more expensive than it is worth. What delay does David Gilmour use? - Killer Guitar Rigs intro and verse volume swells, first solo: 620ms -- feedback: 6-7 repeats This was most likely a reel-to reel recorder set up for a tape-loop delay. 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. first solo: 310ms -- feedback: 2-3 repeats. Potent Pairings: Achieving the Tones of David Gilmour Bass: 12 o'clock Mid: 1 o'clock Treble: 11 o'clock Delay: Time: 484 ms Mix: 40% Level: 75% Feedback: 50% Only about one audible repeat fading very quickly after that Reverb: Medium Room Time: 2.20 sec EQ: High Cut 4000Hz Level: 75% Mix: 50% Input Gain: 100%. Below are settings to get that sound. It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. Verse / Chorus : TC 2290 Digital Delay: 430ms The Effect Level (volume) and Feedback (number of repeats) will vary. To truly delve into David Gilmour's sound, you'd need to do a lot of research and buy a lot of vintage gear. Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. 310ms -- feedback: 3-4 repeats 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. The tempo used in this demo is slightly too. Coming Back to Life Intro Tone Build - Boss CS-2 and Dyncomp compressors first, then CE-2B chorus in left channel added, the delay added, then plate reverb added. Run Like Hell Tone Building - Boss CS-2 compressor, Hartman Flanger, and two Boss DD-2 delays. Free shipping for many products! SHINE ON YOU CRAZY DIAMOND 1-5 settings. The specific delays he used were as I said the Binson Echorec, the MXR M-113 Digital Delay, and the TC Electronic 2290. The main rhythm guitar, chords, and fills are all double tracked. Multiply that number by 75% to get the triplet time delay. He has used this type of setup in his 1987-89 rig, his 1994 rig, and in his 2006 On An Island tour rig. Set it to about 370 milliseconds, mix it low, and set the repeats to about 3-4 times. Tweaking the delay time was simply more tweakable on the MXR Digital Delay. It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. Below is an excerpt of David's bass guitar part, extracted from the 5.1 surround mix of Meddle. 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. Why is that important? Too much can severely alter your guitar tone before it hits the amp, washing out the definition and clarity. This was most likely a reel-to reel recorder set up for a tape-loop delay. intro: The slide parts were made up of several multi tracked recordings, each playing slightly different, but similar phrases. 1st delay 500ms. David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. However, it is possible to play this one one guitar. Below are examples from 2016 of David using three digital delays in series for Syd's theme from performances of Shine of You Crazy Diamond. Below is an isolated excerpt of this part. 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. The volume swells can be easily created today with a delay and a volume pedal. I use the MXR Digital Delay. Below is an example from 2016 of David Gilmour using three delays to simulate the Echorec sound in Time. Best Delay pedal for tones ala David Gilmour? - My Les Paul Forum One of the only audible examples of the multi heads in use in a Pink Floyd studio recording is the intro to the song, a few early live Pink Floyd performances of. second solo before verse: 350ms -- feedback: 3-4 repeats 2,434. volume swells in verse section after second solo: 540ms and 620ms -- feedback: 4-5 repeats - David has used numerous types of delays in his carreer, both analog and digital. 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. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. In this video I'm demonstrating how to set up your David Gilmour delay sounds and settings. There is also the "modulation" factor which is a common feaature on modern analog and digital type delays. second solo: 750ms -- feedback: 4-5 repeats, Comfortably Numb - MLOR tour: 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. The maximum delay time of the Echorec 2 is not long enough for RLH, but David's PE 603 Echorec max delay time was 377-380ms, which is the RLH delay time. Below is a clip illustrating plate reverb from a Free The Tone Ambi Space stereo reverb pedal. Last update July 2022. 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). I used a Free the Tone Future Factory delay set for 300ms and long repeats. Both in the studio and live their musicality seeps from every note, every rest, and every beat. But the delay was in 3/4 increments of the beat and the vibrato went with the beat. For the modulation, I use an old green 18v Electric Mistress or a 1980s era Deluxe Electric Mistress in the big box. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. If the repeats are slower, reduce it. 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. This gives the impression of a 920-930ms delay. There is a 440ms delay on the guitars in the studio recording. April 9, 2022. by Joe Nevin. 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. The delays are set in series like this: One of These Days - 294ms delay + vibratto. WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? 530ms -- feedback: 4-5 repeats, Coming Back To Life: MXR Digital Delay System II showing David's knob settings, Part of the effects rack from David's 1994 Pink Floyd tour rig with the MXR Digital Delay System II mounted in the middle, David's MXR Digital Delay System II rack unit from the On an Island tour showing a note for It's actually a metallic disc that spins around. What is interesting about this performance is that it is probably the only time David is known to have used a tape delay. If you have a good sound in the room or hall you are playing in, there is no need to add reverb, but in small or dead sounding rooms, adding a small amount of reverb in your effects rig can really enhance the sound. HH IC-100 amplifier with built in tremolo. Copyright 2023 Killer Guitar Rigs. Each was set to 380ms, 7-8 repeats, with the delay volume almost equal to the signal volume. 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. His talent doesnt just limit to his skill, but also to his creativity. Note that setting. intro: 780ms, Coming Back To Life - Pulse version (MXR Digital Delay II and TC 2290 Digital Delay): 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. My sound has everything to do with what sounds good to me. The repeats had a warm high end roll off, similar to David's Binson Echorecs. How to Nail Gilmour's "Comfortably Numb" Solo | Reverb News I have managed to nearly replicate what a Binson will do using a combination of modern digital unitsthe multi-head sounds, as well as the Swell settingwhich is what I use on the beginning of Time, for example - David Gilmour, Guitar World March 2015. He set the time to 310ms for most everything. 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. Members; porsch8. It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. Solo (several multi-tracked guitars): main delay 312ms / second delay to simulate offset multi-tracked guitars: 440ms, Time - Pulse version (TC 2290 Digital Delay): The main rythm in the left and right channels of the studio recording is domantly the 3/4 time. 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 . He did sometimes use the Swell mode. Its also easier for live situations as changes can be made on the fly. With regards to the actual sound of the echo repeats, there are essentially two types of delays - analog and digital. - David Gilmour from Guitar for the Practicing Musician, 1985. 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. a`Its very reliable, just like the MXR, but its much more versatile and teachable. solos: 300ms -- feedback: 3-4 repeats - delay level: 15% -- delay type: analog Here is a clip of a single 330ms delay playing the Blue Light riff. David would use a Binson Echorec in the early days between 1968-1978. Those are not the type of parallel setup we are talking about here. Volume 85% David would use the latter setting for most of the album. Below is an example of the Syd's Theme section of Shine on You Crazy Diamond from Pink Floyd's 1994 tour. If the repeats are faster than the tempo, increase the delay time. If you want to somewhat recreate his delay youre in luck, as its pretty simple. This pedal was a little easier to use than the Binson, and its the exact delay you can hear in The Wall. If running the delays parallel, set for about 12 repeats on each. Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. The delay time must also be precisely in time with the song tempo. solos 2/3: Delay 1 = 360ms / Delay 2 = 650ms, Coming Back To Life - 2006 live version: Then go to a website with a Delay Time Calculator, like the one on this page. I started off with a Binson Echo unit, which is like a tape loop thing. Below is my best guess at the delay times David used there. I use two delay pedals for Run Like Hell. verse/chorus sections: 310ms -- feedback: 3-4 repeats, Shine On You Crazy Diamond I-V - 1987-89 live version: David Gilmour is famous for his unique use of delay and echo. So why don't you hear the repeats most of the time? It's actually a metallic disc that spins around. The level or volume knob would be set to maximum on most delays for this. David Gilmour Tone Building - Kit Rae 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. Run Like Hell Demo Instrumental - excerpt from The Wall demos, Run Like Hell - extended intro from the long version of the original studio recording - one guitar in L channel and one in the R. Run Like Hell R channel - same as above, but just the R channel so you can hear just a single guitar playing the riff. David Gilmour's delay sounds (part 2) - YouTube You just tap along to the song tempo with your keyboard and it calculates the BPM tempo for you. 1st delay 470ms. Anyone got some David Gilmour delay settings If you listen to some of the better bootleg recordings and compare them to the official live releases, you will find David's real live sound is typically drier, with less delay. Exact 3/4 time is 150 x 3 = 450ms, which is our main delay time. Brian Eno did something similar later in the early-mid '1970s with his famous reel-to-reel frippertronics tape delay effect. Listening to this track helped me realize how delay and reverb trails interact with what I'm playing in a way that makes unintended diads that could . Mids: 6-7. If you put it in a 3/4 time it has an interesting bounce to it. THE RULING CASTE: IMPERIAL LIVES IN THE VICTORIAN RAJ By David Gilmour Theyre so famous they sell for a very high price and are deemed a collectable for many. 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. Sometimes these are called "parallel mixers" or "looper" pedals.