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. 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. 520ms -- feedback: 4-5 repeats, Obscured by Clouds: The original band demo, heard in The Wall Immersion Set, has a much bouncier, more disco-like feel, so I think the 4/4 delay is much more prominent in that mix. Brian May (of Queen) did the same effect a few years later on Brighton Rock and Son and Daughter using his modified Echoplexes. Dave likes it because even though it's a digital unit, it still sounds a little dirty, like a tape unit. DD-500 Settings for David Gilmour Style Lead Guitar Delay Below is a medley of David using the Echorec from 1969-1977. 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. analog gear was not as good as digital at the time, so the belief that analog is always better than digital arose. Copyright Kit Rae. 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. The Mooer Elec Lady is a good, inexpensive clone of the Electric Mistress that sounds much closer to the original large box Mistress. In the 80s and 90s David would mostly use digital rack models such as the TC Electronic 2290. Record yourself playing alone verses playing along with a backing track to see what I mean. 570 divided by four (4/4) is 142.5. Remember that these settings should just be used as a starting point. intro and verse volume swells, first solo: 620ms -- feedback: 6-7 repeats buildup and arpeggio delay time: 300ms -- feedback: 7-8 repeats - delay level: 40% -- delay type: analog, Echoes - live Gdansk Version: It's just like the old Echoplex unit - David Gilmour from Guitar for the Practicing Musician, 1985, The Binson was an Italian made delay unit. 2,434. With that said, the rest of the article is designed to . From long sustained notes that seem to go on forever, to the most tasty of blues licks, his sound is instantly recognizable. Solo (several multi-tracked guitars): main delay 312ms / second delay to simulate offset multi-tracked guitars: 440ms, Time - Pulse version (TC 2290 Digital Delay): I don't care how I get it. 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, . ECHOREC DELAY - David was a heavy user of the Binson Echorec from his early days with Pink Floyd in 1969 until the late 1970s. slide violin intro: 300ms -- feedback: 8-9 repeats - delay level: 90-100% -- delay type: analog 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. HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? Heavy reverb. 360ms -- feedback: 8 repeats -- delay level 100% -- delay type: digital, Great Gig in the Sky - live version You could get some wonderful delay effects that aren't attainable on anything that's been made since. This way the echo repeat from one delay is not repeating the echo repeat of the other, and the original guitar signal is kept pristine rather than altered by going through two different delays. HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? delay 1: 90ms Digital Delays tend to be avoided by many guitarists, but the belief that analog is always better than digital stems from when digital gear wasnt very good. 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. Generally speaking, the sound on the album is pretty much what came out of his amp. You can also do the volume swells with the guitar volume knob, although it is much easier with a volume pedal. THE RULING CASTE: IMPERIAL LIVES IN THE VICTORIAN RAJ By David Gilmour I turn each effect on one at a time so you can hear how they add to the tone. The Different Effects Used By David Gilmour Throughout His Career It was compiled by measuring the echo repeats in official releases and bootlegs of live recordings, and from delay times visible on the LCDs of David's digital delays. To do this manually, turn the feedback on your delay up to around 80% or so, so the repeats are almost infinite. That's another one of the personal esthetic judgments that you use in trying to get something to sound nice to yourself. delay 2: 430ms, In Any Tongue - 2015/16 live version: solo: 580ms, On The Turning Away - Pulse version (TC 2290 Digital Delay): Later versions of the DD-3 have different circuits. 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. - David Gilmour, Guitar World magazine. The original band demo, heard in The Wall Immersion Set, has a much bouncier, more disco-like feel, so I think the 4/4 delay is much more prominent in that mix. Assume a 100% delay level means the delay repeat volume is exactly the same as the original signal volume, so the dry signal and the delay repeats will be exactly the same loudness. 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. David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. - David Gilmour interview by Bob Hewitt from Guitarist, June 1986. volume swells: 1100ms -- feedback: 4-5 repeats. There is also the "modulation" factor which is a common feaature on modern analog and digital type delays. I started off with a Binson Echo unit, which is like a tape loop thing. David Gilmour Delay Time Library - Kit Rae Solo: 430ms, Fat Old Sun- 1971/72 live versions: 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. Echorec Style Delay Jamming - 428ms and 570ms. 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. delay 1: 430ms -- feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital Free shipping for many products! I have a slight roll off of the high frequencies on the repeats to mimic the Echorec sound. - first is 380ms delay in the left channel, then 380ms+254ms in the right channel. 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. Brian Eno did something similar later in the early-mid '1970s with his famous reel-to-reel frippertronics tape delay effect. In this clip I have one set for 380ms for Run Like Hell and one for 440ms for Another Brick in the Wall (part 1). Or you can simply multiply the 4/4 time x75% and get the same 3/4 time. Starting with the finer details of the setup's tone like amp EQ and drive pedal levels and EQ will help you hear everything much more clearly before adding all the delay and reverb. The last 8 minutes of the song is a rambling collage of echo repeats. delay time: 450ms -- feedback: 7-8 repeats -- delay level: 25% -- delay type: analog/digital mix, Another Brick in the Wall Part II (live): Multiply that x3 to get the 3/4 time and you get 427.5. Any delay with a 100% wet signal output can be set up in a parallel signal chain to do this. The SDE 3000 was set for a 1500ms delay, giving approximately 20-30 seconds of regenrated delay repeats. outro solo: 620ms -- feedback: 4-5 repeats, Yet Another Movie - 1987-89 live version: A few of David Gilmour's vintage Binson Echorec 2 model T7E delays. Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. Copyright Kit Rae. 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 David Gilmour Lead Guitar Tone PDF Download The 3/4 "triplet" time will be inbetween in between these 4/4 and 2/4 settings on your delay. 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. I'll keep this simple rather than going into an explanation of time signatures. Flashback/David Gilmour | The Gear Page solo: 475ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Hey You - Pulse version (TC 2290 Digital Delay): For the muted rhythm part in Echoes, Program 3 is the closest, but almost any program position works as long as the delay time is set for 300-310ms. The second delay is set for 254ms, 1 repeat, with the delay volume set at 50%. When the notes pitch up or down the delay has 4-5 repeats. One set for a slighly shorter delay time, and a lower echo repeat volume, running into a longer delay with a slightly louder echo repeat will give you a very smooth sound. Pink Floyd is known for their use of soundscapes and textures that would later characterize genres such as progressive rock and psychedelic rock. Shown below are my Boss delay time settings to replicate the Run Like Hell band demo recording sound. 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. The notes fade in and out, like a pedal steel guitar. 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. Solo: TC 2290 Digital Delay: 430ms, Time - Delicate Sound of Thunder version (TC 2290 Digital Delay) : David probably just uses the term triplet because what he does has a similar feel. 5 A.M. : I use the MXR with the read-out on it, so I instantly have the right tempo. www.gilmourish.com this website has info on Gilmours tone and gear used. Delay Time: Shown in milliseconds. MXR DIGITAL DELAYS - David began using digital delays in 1977. Breathe Intro Using One Delay - One 440ms delay with 4-5 repeats also works well. You can check this by mute picking a single note simultaneous with a drum beat, then listen to the repeats. Delay times vary by song but anything between 300mms and 600 makes a decent one size fits all. Sort of a triplet on top of a triplet time delay. 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. 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. 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. Below is an example of David using two digital delays (TC 2290 Digital Delay and the dual delays from a PCM 70 delay) for the intro to Time in 1994. Program Position 5 is equivalent to Switch Position 7 on the real Echorec, which is Head 4 + Head 3. 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). The clip below is played with those same 428ms and 570ms delay times. 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. 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. 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. second solo: 750ms -- feedback: 4-5 repeats, Comfortably Numb - MLOR tour: 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. Then I play the bass rhythm clean, then with the effects on. 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. He would do this for each chord change in the intro to, 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. 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. If you have a clean amp, some settings to start with would be: Gain: 3 Treble: 7 Mids: 7 Bass: 6 Reverb: 5-6 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. Some duplicate the studio album delay times and some duplicate the live delay times. The official live recordings often have an even larger delay sound than the studio versions. The IC-100 tremolo was set to maximum depth and the trem speed was set so there are two pulses for every delay repeat. Start new topic; Recommended Posts. 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. Time intro - Torino, Italy, Sept 13, 1994. 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). Below are a few of the rare examples of David using the Echorec in multi-head mode from 1973 and 1975. 530ms -- feedback: 4-5 repeats, Coming Back To Life: 1 2. A good chorus like the Boss CE-2 or CE-5 can also be used in place of the flanger. Delay and reverb should be the last effect in the chain. 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. Speaking from personal experience, furthering my understanding of tone has simultaneously been one of the most rewarding and frustrating experiences of my life. solo: 540ms, Poles Apart - Pulse version (TC 2290 Digital Delay): 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. 1st solo: 435ms 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. It only added a very slight gain boost to his clean amp tone, but . Often what I hear in the recordings is just natural room or hall reverb. In four beats you will hear 5 repeats (including the pick), and and that fifth repeat will time right on the fourth beat. - David Gilmour. 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): The Boss LS-2 Line Selector, Xotic Effects X-Blender, Lehle Parallel, and Badger Schism are a few that do the job. It was set for a light overdrive setting and was most likely an always-on pedal. 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. moderate reverb, probably from the plate reverbs at Abbey Road studios. Gilmour's guitar playing is an integral part of this sound. second solo: 460ms -- feedback: 5-7 repeats, Dogs: 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. Delay volume 50%. That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. If you adjust the delay time in that in-between zone while listening to the song, you will hear when it is right in 3/4 time. He usually had the time set to 440ms. For his general ambient delays, choose the most tape flavored setting and use 50%-ish feedback (or 7-8ish repeats) and mix it fairly low so it sounds more like a subtle reverb. Tweaking the delay time was simply more tweakable on the MXR Digital Delay. The amp David used for the RLH studio recording is not known, but presumably it was a Hiwatt or Mesa Boogie Mark I. He came up with that basic riff that we all worked on and turned into One of these Days. L channel -- 650ms with a single repeat, then another single repeat at 1850ms. Pink Floyd recording engineer Andy Jackson has said he usually uses a couple of EMT plate reverbs in the studio for David's voice and guitar, and sometimes a Lexicon Hall reverb. 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. Volume 85% Time intro test with backing track - 470ms and 94ms. The S-O-S rig allowed him to play sustained chords on the guitar which he could then play melody on top of. 1st solo: 310ms The S-O-S unit was basically a buffered interface with two send/returns. 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. However, it is possible to play this one one guitar. The repeats had a warm high end roll off, similar to David's Binson Echorecs. The best representation of this is a 340ms delay set for 3-4 repeats, On An Island: Below is an example using two digital delays in series. verse, solos: 450ms, Learning To Fly - Pulse version: It helps to have a delay with a digital display to set the exact delay time. 630ms: feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital, Sorrow Solo - Pulse version (TC 2290 Digital Delay): We are a participant in several affiliate programs including but not limited to the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for us to earn fees by linking to Amazon.com and affiliated sites. Below is a breakdown switching between the various tracks of all three solos. solo: 530ms -- feedback: 5-6 repeats, 5 A.M. 2015/2016 live version: VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net. Two guitars were multi tracked in the left and right channels. verse/chorus sections: 310ms -- feedback: 3-4 repeats, Shine On You Crazy Diamond I-V - 1987-89 live version: Pink Floyds and Gilmours music is timeless, and the albums are a must-listen for any musician who wishes to define and expand genres. Best Delay pedal for tones ala David Gilmour? - My Les Paul Forum 525ms, Sorrow Solo - 2016/15 live version: Using two delays to simulate the multi head Echorec effect - 470ms and 352ms. Alans Psychadelic Breakfast with 2.2 second tape delay_Oct 1970. 3. 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. 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. 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. 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 shorter delay fills in the gaps between the longer delay repeats, creating a smooth delay sound, but the delay time on both makes the repeats fall inline with the song tempo. 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. - David has used numerous types of delays in his carreer, both analog and digital. Below is a clip illustrating plate reverb from a Free The Tone Ambi Space stereo reverb pedal. Every aspect of his tone can change on different albums, even on different tracks of the same album! The delays are set in series like this: If you put it in a 3/4 time it has an interesting bounce to it. 2nd delay 570ms. The first Money solo, for example, sounds like it is awash in spring reverb. Great Gig Slide Guitar Breakdown. Volume 65% 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 intro slide guitar: 1023ms The level or volume knob would be set to maximum on most delays for this. The tempo used in this demo is slightly too. NOTE: This website is frequently updated. How to you get the proper 3/4 delay time from that 4/4 time? It's all on a D pedal. You can simulate the amp tremolo with just about any tremolo pedal or tremolo amp with a square wave shape. verse / chorus: 430ms, Us and Them - 2016/15 live version: The slide parts actually were played on a pedal steel, a Fender 1000, but David just used it as a slide guitar and removed the foot pedals. Treble: 4-5. 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. Feedback: This is the number of audible repeats. Gear used: Telecaster into a fender twin Reverb and Reeves Custom 50, Boss CS-2 Compressor, Tube Driver set for light overdrive, Electro-Harmonix Electric Mistress, TC Nova delay. 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. I the clips below I play the 470ms delay first, then the 94ms delay, then both in series together. first solo: 340ms -- feedback: 3-4 repeats Another option is to run two delay pedals simultaneously. Unfortunately the Catalinbread Swell control cannot be set as high as it needs to be for the Time intro, but it gets close. There are also instances where he has had a long delay time, but only one or two repeats, which gives the big sound, but makes the repeats almost inaudible in the band mix. This 3/4 and 4/4 delay can be used for more than just some Echorec effects. RLH Intro live 1984 style - Boss CS3 compressor, Tube Driver, Boss CE3 chorus, Two Boss DD-2 delays, into a Twin Reverb. If you look at head 4 as 4/4 time, the others would break down like this: Head 4 = 4/4 bass guitar rhythm delay (two bass guitars): 294ms, 7-8 repeats Alternate (Pulse): Delay 1 = 430ms / Delay 2 = 1023ms, Hey You: -, David Gilmour interview by Bob Hewitt from Guitarist, June 1986, FINDING THE "TRIPLET" TIME DELAY FOR A SONG. fills under second and fifth solos: 507ms -- feedback: 4-5 repeats Sometimes he even uses two delays at once to create certain double tapped echo effects or to make a solo sound bigger. It's actually a metallic disc that spins around. first solo: 507ms -- feedback: 2-3 repeats 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 . 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 makes for a sound that really adds depth to the guitar tone in the mix, but is not cluttered by delay repeats. Note that David Gilmour varied his settings. There is a 440ms delay on the guitars in the studio recording. 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. Multiply that number by 75% to get the triplet time delay. Many of the sound effects youll hear on the earlier albums were created with this machine. 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. His final delay was the TC Electronic 2290. I use the MXR Digital Delay. David would use the latter setting for most of the album. It also stems from the fact that analog equipment is frequently much more expensive than it is worth. solos 2/3: Delay 1 = 360ms / Delay 2 = 650ms, Coming Back To Life - 2006 live version: That equates to 250 - 240ms. 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. If you have a subdivisions setting (quarter notes, eighth notes, dotted eighth notes, et cetera) set it to quarter notes, or the normal setting. For example, 380ms is your triplet time. Too much can severely alter your guitar tone before it hits the amp, washing out the definition and clarity. - Pulse version (TC 2290 Digital Delay): 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. 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.