So why don't you hear the repeats most of the time? The delay and reverb are usually not mixed particularly loud, but the overall combined wet delay/reverb mix is very effective. The Blue: Remember that these settings should just be used as a starting point. 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. When you play across it, it helps you to double-track yourself. Below is a breakdown of how to play this effect. outro: 340ms -- feedback: 3-4 repeats, Shine On You Crazy Diamond I-V (Binson Echorec): You can also get something similar with one 650ms delay set for 2 repeats. second solo: (early in song) 580ms -- feedback: 4-5 repeats -- delay level: 25% -- delay type: analog 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. #4. intro: This is a big part of Pink Floyd's sound. Head 4 = 300ms (or 75ms x 4) .Head 4 = 380ms (or 95ms x 4) This unit is an incredibly versatile digital delay that many artists use. A) All those pictures out there of David Gilmour's tours have the settings knobs shown, but you can not go by that and insist it is bible. Syd's theme - Hollywood Bowl March 2016. A single delay set at 1400ms with 3 repeats has a similar feel as well. It makes for a sound that really adds depth to the guitar tone in the mix, but is not cluttered by delay repeats. outro solo: 430-450ms, One of These Days studio version (Binson Echorec): 80x2 = 160. I usually try, in solos, to set the DDLs to have some rhythmic time signature in common with the tune. Set the 600ms dealy to half the repeats of the main delay, with a MUCH lower delay volume. The third solo also sounds like it has reverb, but that sounds more like room reverb or plate reverb added in the studio. first solo: 340ms -- feedback: 3-4 repeats He usually had the time set to 440ms. 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. 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. second solo: 660ms -- feedback: 5 repeats, Comfortably Numb - 2015/16 RTL Tour: David usually sets his delays in time with the song tempo, which helps hide the echo repeats. Pink Floyd is known for their use of soundscapes and textures that would later characterize genres such as progressive rock and psychedelic rock. If the repeats are slower, reduce it. The repeats had a warm high end roll off, similar to David's Binson Echorecs. I use a compressor or a Tube Driver for this. outro solo : delay 1 = 1000ms -- feedback: 1 repeat / delay 2 = 720ms -- feedback: 3-4 repeats, Take A Breath 2006 live versions: delay 1: 430ms -- feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital Below are a few of the rare examples of David using the Echorec in multi-head mode from 1973 and 1975. 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. This website is frequently updated. This 3/4 and 4/4 delay can be used for more than just some Echorec effects. His delay times are slightly faster here. second solo delay #1 TC2290 Digital Delay (whole solo): 480ms DELAY SETTINGS - Most of the delay times David Gilmour used in the early 1970s with Pink Floyd were around 300ms long, since that was the approximate delay time of head 4 on the Binson Echorecs he was using at the time. This pedal was a little easier to use than the Binson, and its the exact delay you can hear in The Wall. The Mode switch is in position 7, which is Head 3 + Head 4. The Mooer Elec Lady is a good, inexpensive clone of the Electric Mistress that sounds much closer to the original large box Mistress. Members; 529 Members; Share; Posted December 21, 2005. In the 80s and 90s David would mostly use digital rack models such as the TC Electronic 2290. 480ms: feedback: 7-8 repeats - delay level: 75% -- delay type: clear digital, Sorrow: What is interesting about this performance is that it is probably the only time David is known to have used a tape delay. Other common delay times were 380, 440-450, 480, and 540ms. For example, I compared the 5.1 surround sound mix of the second On an Island solo with the solo in Castellorizon (from David's 2006 On an Island album). 360ms -- feedback: 8 repeats -- delay level 100% -- delay type: digital, Great Gig in the Sky - live version solo: 530ms -- feedback: 5-6 repeats, 5 A.M. 2015/2016 live version: 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. So why don't you hear the repeats most of the time? 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. The Blue - 2016/15 live version: - Delay Rhythm Guitars Mixed Up Front - both channels. 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. 410ms: feedback: 7-8 repeats - delay level: 90% -- delay type: warm digital, Terminal Frost - 1987-89 live version: 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. I use 240ms. alternate 2nd Solo: 540ms From the 1972-74 period he used the PB first in line in the signal chain for his live rigs. Check here for more Big Muffs to achieve the Gilmour tone. 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). David bought an Echorec PE 603 model in 1971 that had a maximum delay time of around 377-380ms. And what I meant with using it as a reverb was that he tends to tune his delay to the rest of the band so that it creates a cohesive piece that captures their signature atmospheric sound. second solo: 560ms -- feedback: 3-4 repeats, On An Island - 2006 live versions: - Pulse version (TC 2290 Digital Delay): Hey You - Pulse version (TC 2290 Digital Delay): Money solo - studio version - multiple guitar tracks were recorded with different delay times (Binson Echorec 2 and Binson PE603): Money solos - live 1977 version (MXR Digital Delay System I): Money solos- Pulse version (TC2290 Digital Delay): One of These Days studio version (Binson Echorec): One Of These Days - 2015/16 live version: On the Run (The Traveling Section) - early live guitar version from 1972 (Echorec PE 603): On The Turning Away - 1991 live Amnesty International Big 3 O version: On The Turning Away - Pulse version (TC 2290 Digital Delay): Poles Apart - Pulse version (TC 2290 Digital Delay): Rattle That Lock - 2016/15 Live version: Run Like Hell - two guitars multi-tracked (delay used was likely the MXR M113 Digital Delay): Run Like Hell - 1984 live versions - two delays in series, each with a different delay time (MXR M113 Digital Delay and Boss DD-2): Run Like Hell - Delicate Sound of Thunder and Pulse - two delays in series (TC 2290 Digital Delay for main delay + 2290 ADT effect): Shine On You Crazy Diamond I-V (Binson Echorec): Shine On You Crazy Diamond VI-IX (Binson Echorec): Shine On You Crazy Diamond I-V - 1987-89 live version: Shine On You Crazy Diamond I-V - 1994 live / Pulse version (TC 2290 Digital Delay): Shine On You Crazy Diamond I-V Syds theme - 2016/15 Live version: Short and Sweet - David Gilmour live 1984 version (Boss DD-2): Sorrow Solo and intro/outro - Delicate Sound of Thunder version (TC 2290 Digital Delay): Sorrow Intro / Outro - Pulse version (TC 2290 Digital Delay): Sorrow Solo - Pulse version (TC 2290 Digital Delay): Time - Pulse version (TC 2290 Digital Delay): Time - Delicate Sound of Thunder version (TC 2290 Digital Delay) : Us and Them - Pulse version (TC 2290 Digital Delay): *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. Start new topic; Recommended Posts. 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 . 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. You can also hear multi heads in a few early live Pink Floyd performances of Time and the four-note Syd's theme section from some performances of Shine on You Crazy Diamond. The plate reverb sound is the best to use for Gilmour tones in my opinion, but minimally. Or you can simply multiply the 4/4 time x75% and get the same 3/4 time. second solo: 750ms -- feedback: 4-5 repeats, Comfortably Numb - MLOR tour: Although it is simple to play, you must play exactly in time with the delay or it will sound sloppy. David probably just uses the term triplet because what he does has a similar feel. Listening to the trails specifically, something a little darker like a DM-2 would do it. The main delay rhythm that runs throughout the song is two guitars, one in the left channel and one in the right. Run Like Hell with 380ms and 507ms delay in series. 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). DELAY TYPES - ANALOG AND DIGITAL - David has used numerous types of delays in his carreer, both analog and digital. 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 In this video I'm demonstrating how to set up your David Gilmour delay sounds and settings. Great, lets get started. middle section: 1500ms -- feedback: 10-12 repeats Many of the sound effects youll hear on the earlier albums were created with this machine. - 2016/15 live version: 530ms -- feedback: 4-5 repeats, Coming Back To Life: RUN LIKE HELL - This is one of the standout tracks from Pink Floyd's The Wall double album, with music written by David Gilmour. bass guitar rhythm delay (two bass guitars): 294ms, 7-8 repeats Below is a breakdown of how to play this effect. Scales David Gilmour is a big proponent of the minor and major pentatonic scales. first solo: 310ms -- feedback: 2-3 repeats. A little later he switched to the MXR Digital Delay. 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. The effect actually works fine with only two delays. Its a core part of Pink Floyds earlier sound, and not just for Davids guitar. 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). 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. To get the Pink Floyd sound, you'll need to use some specific equipment and settings. 4. That equates to 428ms, which we will call the 4/4 time. HH IC-100 amplifier with built in tremolo. This is something us Gilmour fans have sought to recreate in our own playing. A key to the way David has done this is to run each delay in its own separate channel, parallel and separate from the line signal. My sound has everything to do with what sounds good to me. 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. His most commonly used delay times were in the 294-310ms range and 430ms. intro: 630ms -- feedback: 4-5 repeats -- delay level: 17% -- delay type: analog 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. When you have a drum and bass note landing at the same time it somewhat masks the repeat. David has often usied very long delay times, so the repeats are not as obvious because he is playing the next bit of a solo phrase right when the repeats from the previous notes start. POWER BOOST PLACEMENT - The Colorsound Power Boost was an overdrive that David used throughout the 1970s. The S-O-S unit was basically a buffered interface with two send/returns. 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. There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment. Playing the RLH Rhythm Fills - with and without the delay, Playing the RLH Verse Chords - with and without delay. delay 1 time: 430ms -- feedback: 5-7 repeats - delay level: 30% -- delay type: warm digital Below is an example from 2016 of David Gilmour using three delays to simulate the Echorec sound in Time. solo: 680ms, Another Brick in the Wall Part 1: 350ms, Breathe - studio version (several duplicated multi track recordings offset to create the long delay repeats): If you look at head 4 as 4/4 time, the others would break down like this: Head 4 = 4/4 As the magnetic tape began to wear out and stretch over time, the repeats would start to degrade and sound dirty and warbly. intro: 425ms solo: 380ms -- feedback: 5-6 repeats, Marooned - 1994 live version: 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. David Gilmour adjusting his MXR rack effects from April 1984, including the MXR 113 Digital Delay, and MXR Digital Delay System II. delay time for intro and verse slide guitar: There are three different delay times on the repeats and they are slightly offset, delay 2 time: 1100ms -- feedback: 1 repeat - delay level: 10% -- delay type: warm digital, Today - 2016/15 live version: David used various Echorec models but he was most known for using the Echorec 2 model T7E. There is a 440ms delay on the guitars in the studio recording. - David Gilmour. To truly delve into David Gilmour's sound, you'd need to do a lot of research and buy a lot of vintage gear. Gilmour's guitar playing is an integral part of this sound. 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. 2nd delay 570ms. The studio recording was likely duplicated and played back 440ms behind the original guitar recording to create the effect, or the mixing board was outfitted with a longer delay to create the effect in the mix. Often during the live songs that do have very loud delays, you do hear the repeats clearly. DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. slide violin intro: 300ms -- feedback: 8-9 repeats - delay level: 90-100% -- delay type: analog Give Blood Unless otherwise noted, all delay times are shown in quarter notes Delay time depends on the era. 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. The Echorec playback heads were spaced so the input signal would repeat at specific intervals, adding delay repeats upon delay repeats. In live performances he usually used playback Head 4 for the maximum delay time of around 300ms. 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 One of These Days from Pink Floyd's Meddle album in 1971. All of the settings for this tone can be found in this PDF download below. Syd's theme: 375ms and 500ms volume swells in lords prayer section: 340ms -- feedback: 8-9 repeats intro: 780ms, Coming Back To Life - Pulse version (MXR Digital Delay II and TC 2290 Digital Delay): third solo (after dry solo): 380ms -- feedback: 2-3 repeats. It also stems from the fact that people tend to look at things with their wallets, and analog gear is often much more expensive than its digital counterpart. 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. On the one hand, finally cracking one of my favourite guitar player's [] I the clips below I play the 470ms delay first, then the 94ms delay, then both in series together. To get the second delay in 4/4 time, multiply 150 x 4 = 600ms. But to sum up, both these digital units sound amazing, because if it didnt David Freakin Gilmour wouldnt be using them. Some duplicate the studio album delay times and some duplicate the live delay times. 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. It is impossible to achieve the exact same tone as a player without using the same equipment. Unfortunately the Catalinbread Swell control cannot be set as high as it needs to be for the Time intro, but it gets close. That may be just my fantasy; I don't know. second solo: 430ms - feedback: 3-4 repeats -- delay level: 15% -- delay type: analog, Shine On You Crazy Diamond I-V - 1994 live / Pulse version (TC 2290 Digital Delay): third (dry) solo: simulate studio ADT with a 40-50-ms slapback delay -- feedback: 1 repeat It's a beautiful sound, but David did not use tape delays like this. - David Gilmour from Guitar for the Practicing Musician, 1985. The amp David used for the RLH studio recording is not known, but presumably it was a Hiwatt or Mesa Boogie Mark I. These are 5 note scales, pretty much the simplest scale a guitarist could use. Both delays are in series with the delay volume around 75% and about 9 repeats. Below is a breakdown switching between the various tracks of all three solos. Last update July 2022. outro solo: 680ms -- feedback: 4-5 repeats. Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. The main rythm in the left and right channels of the studio recording is domantly the 3/4 time. Copyright 2023 Killer Guitar Rigs. I use the Tremotron from Stone Deaf Effects for this. Program Position 5 is equivalent to Switch Position 7 on the real Echorec, which is Head 4 + Head 3. Read an explanation about how this is achieved here. 560ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Solo - Strat Pack 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. The 4/4 delay can barely be heard on the studio recording and is really not necessary, but it is fun to experiment with two delays. *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! 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. Brian May (of Queen) did the same effect a few years later on Brighton Rock and Son and Daughter using his modified Echoplexes. I have one for specific time settings, for things like Run Like Hell and Give Blood, so I know in numbers (delay time in milliseconds) what setting I need to use. The 3/4 "triplet" time will be inbetween in between these 4/4 and 2/4 settings on your delay. Delay times vary by song but anything between 300mms and 600 makes a decent one size fits all. It's actually a metallic disc that spins around. One of the only audible examples of the multi heads in use in a Pink Floyd studio recording is the intro to the song Time from Pink Floyds Dark Side of the Moon. - 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. first solo: 450ms -- feedback: 4-5 repeats -- delay level: 20% -- delay type: analog USING TWO DELAYS AT ONCE - David has sometimes simultaneously used two separate delays with different delay times to create a larger sound, similar to what can be accomplished with the multi heads on an Binson Echorec. second solo before verse: 350ms -- feedback: 3-4 repeats solo: 430ms -- feedback: 7-8 repeats - delay level: 20% -- delay type: digital, Time - 2016/15 live version: 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. 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. Its more modern than the MXR, but it sounds just as good. David used his Workmate Esquire guitar for the studio recording, and usually used a Telecaster when playing it live. To sound like David Gilmour of Pink Floyd, start with the following amp settings: Gain: 3-4. slide solo: solo: 560ms I demonstrate many of the unique sounds that can be created but playing repeating patterns in and out-of-tempo with the delay repeats, letting the repeats get to the point of self oscillating, tapping the strings with a glass slide, tapping the strings with my fingers and pick to create percussive effects, and rubbing my fingers and pick up and down the strings. Note that setting. 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. WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? Run Like Hell with 380ms and 254ms delays in series. 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. volume swells in verse section after second solo: 680ms -- feedback: 4-5 repeats You just tap along to the song tempo with your keyboard and it calculates the BPM tempo for you. VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net. 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. moderate reverb, probably from the plate reverbs at Abbey Road studios. That keeps you from getting a loud, double-tappy mess. - David Gilmour, Guitar World magazine.

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