234ms and 150ms also works. 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. He did sometimes use the Swell mode. 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. It had a maximum delay time of 320ms, but could be expanded to 1280ms by adding additional memory chips. VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net. Last update July 2022. 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. middle keyboard section: 340ms -- feedback: 8-9 repeats One of These Days - gated tremolo section isolated. Delay settings - Tony Samperi verse, solos: 450ms, Learning To Fly - Pulse version: Kits Secret Guitar, Gear, and Music Page 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. His tone is instantly recognizable and unique. The second delay should just be accenting the first, filling the space between the 3/4 repeats. verse/chorus sections: 310ms -- feedback: 3-4 repeats He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. 80x2 = 160. The third delay is probably in 3/4 time, but I can barely hear it. 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. 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. Flashback/David Gilmour | The Gear Page It is not known exactly which delay David used for the sudio recording of Run Like Hell, but I do not think he used his Binson Echorec for the main delay. In this video I'm demonstrating how to set up your David Gilmour delay sounds and settings. First you hear a single muted note picked with a 294ms delay set for 7 repeats (played twice). If you want to somewhat recreate his delay youre in luck, as its pretty simple. 430ms, Faces of Stone - 2015/16 live version: One of these Days evolved from some of my experiments with the Binson, as did Echoes - David Gilmour, Guitar World February 1993, there are some things that only a Binson will do. Delay and reverb should be the last effect in the chain. 310ms -- feedback: 3-4 repeats 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. Set the value to quarter notes, enter the BPM, and you have a delay time in milliseconds the same tempo as the song. The first send went to a volume pedal. Find many great new & used options and get the best deals for THE RULING CASTE: IMPERIAL LIVES IN THE VICTORIAN RAJ By David Gilmour **Mint** at the best online prices at eBay! In this video I'm demonstrating how to set up your David Gilmour delay sounds and settings. Syd's theme: 375ms and 500ms Using two delays to simulate the multi head Echorec effect - 470ms and 352ms. He used three delays there, but again, I can only distinctly hear two. It was my very first delay and one of my favorite pedals for Gilmour-ish delay. David Gilmour Tone Building - Kit Rae 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'. 650-680ms were occasionally used for long delays. That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. The 3/4 "triplet" time will be inbetween in between these 4/4 and 2/4 settings on your delay. Two delays running at different times fill in gaps between delay repeats, making the delay sound smoother with less obvious repeats. It helps to have the echo repeats of the first delay fall right in between, or on the repeats of the second delay, so it has a rhtmic feel. solo: 430ms -- feedback: 7-8 repeats - delay level: 20% -- delay type: digital, Time - 2016/15 live version: 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 main delay rhythm that runs throughout the song is two guitars, one in the left channel and one in the right. second solo: 660ms -- feedback: 5 repeats, Comfortably Numb - 2015/16 RTL Tour: 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. The repeats had a warm high end roll off, similar to David's Binson Echorecs. A few of David Gilmour's vintage Binson Echorec 2 model T7E delays. You just tap along to the song tempo with your keyboard and it calculates the BPM tempo for you. The other is more natural sounding because it is added post amplification, which is more like what real reverb does. 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. Here is a clip of a single 330ms delay playing the Blue Light riff. 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. a`Its very reliable, just like the MXR, but its much more versatile and teachable. Copyright Kit Rae. 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! In some of the studio recordings you are hearing the guitar delay and room sound or studio reverb, not just delay. Again, if you mute pick with the repeats set almost infinite, the repeats will be perfectly in time with the song beat on every 5th repeat. outro solo: 680ms -- feedback: 4-5 repeats. You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms). Every aspect of his tone can change on different albums, even on different tracks of the same album! If the repeats are slower, reduce it. Then go to a website with a Delay Time Calculator, like the one on this page. I use chorus, little delay and some reverb on my amps clean setting. delay 2: 375ms, Run Like Hell - two guitars multi-tracked (delay used was likely the MXR M113 Digital Delay): solo: 680ms -- feedback: 1 repeat - delay level: 30% -- delay type: digital. Pink Floyd is known for their use of soundscapes and textures that would later characterize genres such as progressive rock and psychedelic rock. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. This creates a different bouncy feel to the delay rhythm. The repeats are bright and shimmery but not brighter than the original signal. 5 A.M. : delay 1 time: 90ms The effect actually works fine with only two delays. 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. However, it is possible to play this one one guitar. David Gilmour was the guitarist for English rock band Pink Floyd. David usually sets his delays in time with the song tempo, which helps hide the echo repeats. 3rd solo: 430ms, Money solos - 2015/16 live version: 570 divided by four (4/4) is 142.5. To do this manually, turn the feedback on your delay up to around 80% or so, so the repeats are almost infinite. 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, . To get the 4/4 time delay, simply multiply 126.7 x 4 = 506.8ms. intro: 630ms -- feedback: 4-5 repeats -- delay level: 17% -- delay type: analog The exact delay times would be 450ms for the 3/4 time and 600ms for the 4/4 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 best way I have found to create the smoothest delay is to simply set it in time with the song tempo. For example, 380ms is your triplet time. David usually used positions 1-4, for single playback repeats of heads 1-4. 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. David used various Echorec models but he was most known for using the Echorec 2 model T7E. In this clip I'm using Coming Back to Life as a reference with 700ms. Gilmour's guitar playing is an integral part of this sound. Then I play just the muted note rhythm so you can hear what it sounds without the delay, then I turn the delay on while playing. Reaction score. solo: 580ms, A Great Day For Freedom - Pulse version (TC2290 Digital Delay): Unless otherwise noted, all delay times are shown in quarter notes See all posts by Andrew Bell. Its a famous echo unit used by many artists, and useful for varying instruments. 2,434. There is a 440ms delay on the guitars in the studio recording. Mids: 6-7. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. Below are some specific Gilmour settings I use. Set the 600ms dealy to half the repeats of the main delay, with a MUCH lower delay volume. Fat Old Sun- 2015/16 live version: outro solo : delay 1 = 1000ms -- feedback: 1 repeat / delay 2 = 720ms -- feedback: 3-4 repeats, Take A Breath 2006 live versions: One of These Days - 294ms delay + vibratto. Alternate (Pulse): Delay 1 = 430ms / Delay 2 = 1023ms, Hey You: 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. David Gilmour is famous for his unique use of delay and echo. 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. NOTE: This website is frequently updated. 530ms -- feedback: 4-5 repeats, Coming Back To Life: The trick is not to overdo it. That's another one of the personal esthetic judgments that you use in trying to get something to sound nice to yourself. The delay time and your playing must be precisely in time with the song tempo, so it takes some practice to perfect this style of playing. studio . Below is an example of the Syd's Theme section of Shine on You Crazy Diamond from Pink Floyd's 1994 tour. David probably just uses the term triplet because what he does has a similar feel. Delay volume 50%. I use a compressor or a Tube Driver for this. His most commonly used delay times were in the 294-310ms range and 430ms. I use one of their old ones most of the time because the width is narrower. slide guitar solos: 300ms, One Of These Days - 2015/16 live version: Often what I hear in the recordings is just natural room or hall reverb. 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. 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 . The secrets behind David Gilmour's tone on Pink Floyd's Comfortably solo: 440ms. It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. - 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. 3. It is around 294ms on the studio recording. It was set for a light overdrive setting and was most likely an always-on pedal. 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. In fact, Dark Side engineer Alan Parsons said plate reverb was virtually the only reverb used for those recordings, although he has said they also used as many as five or six tape machines to create various reverb delays. As the magnetic tape began to wear out and stretch over time, the repeats would start to degrade and sound dirty and warbly. Hes got the sort of guitar-god charisma that comes with his insane talent. Even better is to run the delays parallel so one delay does not repeat the other, which sometimes sound messy. 4. 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. delay 1: 90ms I believe that every music school should analyse Pink Floyds music, as theres so much to learn from it. chords / arpeggios: 480ms Brian Eno did something similar later in the early-mid '1970s with his famous reel-to-reel frippertronics tape delay effect. When you have a drum and bass note landing at the same time it somewhat masks the repeat. Remember that these settings should just be used as a starting point. I have split the 5.1 stem channels apart from the surround sound mixes of all of the Pink Floyd and Gilmour's solo albums to hear the individual elements. Note that I am not talking about spring or amp reverb, or a reverb pedal, which is a completely different sound. For the solos, Gilmour played his iconic black 1969 Fender Strat into an amp setup that was essentially a smaller version of his stage performance rig, consisting of a 100-watt Hiwatt half stack and a Yamaha RA-200 revolving speaker system, with the Hiwatt and Yamaha run in parallel. 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. 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. Start new topic; Recommended Posts. 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. 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. 2nd delay 375ms. solos 2/3: Delay 1 = 360ms / Delay 2 = 650ms, Coming Back To Life - 2006 live version: 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. Playing the RLH Rhythm Fills - with and without the delay, Playing the RLH Verse Chords - with and without delay. 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. This creates a different bouncy feel to the delay rhythm. As an Amazon Associate, we earn from qualifying purchases. 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. - 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. The SDE 3000 was set for a 1500ms delay, giving approximately 20-30 seconds of regenrated delay repeats. Gilmour's delay on Coming Back to Life | The Gear Page The Echorec 2 had six knobs - INPUT CONTROL (volume), LENGTH OF SWELL (number of repeats), VOLUME OF SWELL (volume of repeats), BASS/TREBLE (tone knob for the repeats), a three position SELECTOR knob, and a SWITCH knob that selected various combinations of the four playback heads. A good chorus like the Boss CE-2 or CE-5 can also be used in place of the flanger. There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. 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. Sometimes he even uses two delays at once to create certain double tapped echo effects or to make a solo sound bigger. Depending on your second delay EQ, you may need to experiment with the number of repeats and repeat volume. 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. Treble: 4-5. outro solo: 430-450ms, One of These Days studio version (Binson Echorec): It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? Fine tune it until you hear the repeats are exactly in sync with the song tempo. Gilmour used the TC Electronic 2290, but any digital delay will do. 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. This warble is similar to a light chorus sound, with high end roll-off. 380 divided by 3 = 126.7ms. 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. Tim Renwick solo: 520ms, Louder Than Words: To add space to your tone, add a clean digital delay at the end of your signal chain. 614ms -- feedback: 6-7 repeats, Rattle That Lock: Below is a breakdown of how to play this effect. DELAY TYPES - ANALOG AND DIGITAL - David has used numerous types of delays in his carreer, both analog and digital. But delay is not the only effect that Gilmour tends to use. 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. 2nd delay 570ms. The motor had a fixed speed so one turn of the drum equated to approximately a 300ms delay, but that could vary slightly depending on mains voltage, and volatage fluctuations. A 300ms and 380ms delay had the heads repeating in these specific delay times. His talent doesnt just limit to his skill, but also to his creativity. There were varispeed modifications that could be made to the Echorec to give it longer delay times, but it does not appear that David ever had this modification done. volume swells in verse section after second solo: 540ms and 620ms -- feedback: 4-5 repeats 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. 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 Members; porsch8. It plays through first with the guitar and delay, then plays through again with just the left channel dry guitar, then again with the right channel, which is a multi tracked guitar, but delayed behind the left channel guitar. first solo: 450ms -- feedback: 4-5 repeats -- delay level: 20% -- delay type: analog Because the DDL keeps running along, you've got time to leave the pedal playing and play a couple of chords while the effects carry on - David Gilmour from Guitar for the Practicing Musician, January 1995. Head 3 = 3/4 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. Exact 3/4 time is 150 x 3 = 450ms, which is our main delay time. 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. Head 2 = 150ms (or 75ms x 2)..Head 2 = 190ms (or 95ms x 2) 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. I'll keep this simple rather than going into an explanation of time signatures. 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. slide solo: There are several parallel looper pedals that can be used for the actual "looping" part of the setup. intro: TC 2290 Digital Delay and PCM 70 Delay: Delay 1= 470ms / Delay 2 = 94ms 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. Anyone got some David Gilmour delay settings Anyone got some David Gilmour delay settings. Unfortunately the Catalinbread Swell control cannot be set as high as it needs to be for the Time intro, but it gets close. - David Gilmour from Guitar for the Practicing Musician, 1985. The delay was such an integral part of their sound, then almost any Pink Floyd song wouldnt sound complete without Davids signature delay sounds. - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. 1st delay 240ms. The delays are set in series like this: The long delay, and multi tracked guitars add to the smooth, lquid feel of the notes. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. The tone is broken down to illustrate what each effect adds to the sound, in this order: Boss CS-2 compressor, Boss CE-2 chorus, Boss RT-20 Rotary Ensemble, FTT Future Factory stereo delay, BKB/Chandler Tube Driver. I 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. 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. 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. The tempo is much slower, but the delay is played in 3/4 "triplet" time, exactly like RLH. 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. 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 Comfortably Numb: 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. So why don't you hear the repeats most of the time? I use the MXR with the read-out on it, so I instantly have the right tempo. The main rhythm guitar, chords, and fills are all double tracked. Regardless, it is the combination of both delay and reverb that makes the delay sound so smooth in some instances. - first is 380ms delay in the left channel, then 380ms+507ms in the right channel. If the repeats are faster than the tempo, increase the delay time. He did sometimes use the Swell mode. 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. second solo: 640ms -- feedback: 6-7 repeats Echorec 2 ..Echorec PE 603 2. 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. Blue Light Riff - with and without 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. Head 1 = 1/4. solo: 680ms, Another Brick in the Wall Part 1: 540ms, Take A Breath: which is what gives the verse section that floaty, ethereal feel. Run Like Hell with 380ms and 507ms delay in series. A single delay set at 1400ms with 3 repeats has a similar feel as well. FINDING THE "TRIPLET" TIME DELAY FOR A SONG - David has sometimes used a rhythmic 3/4 time delay, what he calls "triplet" time. 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. Program Position 5 is equivalent to Switch Position 7 on the real Echorec, which is Head 4 + Head 3. 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. 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. 2nd delay 94ms. I use the MXR Digital Delay. first solo and fills: 470ms
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