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. solo: 420ms If your delay does not have a dry defeat feature, it is pointless to use in a parallel setup. 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. David probably just uses the term triplet because what he does has a similar feel. - David Gilmour from Guitar for the Practicing Musician, 1985. Brian Eno did something similar later in the early-mid '1970s with his famous reel-to-reel frippertronics tape delay effect. Delay volume 90%. 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. Last update July 2022. You can also do the volume swells with the guitar volume knob, although it is much easier with a volume pedal. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. There are several reasons. outro solo: 430-450ms, One of These Days studio version (Binson Echorec): I used to be expert with Binsons. 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! Gilmour's Binson Echorec 2 model T7E from 1970-71. david gilmour delay settings | London Guitar Academy studio album solo: 275ms He used analog delays like the Binson Echorec throughout the 1970s and one has been seen in his Medina studio from 2013-2017. Kits Secret Guitar, Gear, and Music Page THE BOSS DD-2 DELAY - The 1983 Boss DD-2 was one of the first, and best sounding digital delays to come out of the early days of digital effects pedals. In order to use exact delay times it helps to have a delay with a digital display showing the time in miliseconds. 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). The secrets behind David Gilmour's tone on Pink Floyd's Comfortably 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. David Gilmour's Guitar Style Lesson - Part 1 "Square wave" means the sound wave looks square shaped, rather than wavy. Alans Psychadelic Breakfast with 2.2 second tape delay_Oct 1970. volume swells in verse section after second solo: 680ms -- feedback: 4-5 repeats 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. second solo: 490ms, What Do you Want From Me? 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): In live performances he usually used playback Head 4 for the maximum delay time of around 300ms. #4. A 300ms and 380ms delay had the heads repeating in these specific delay times. I started off with a Binson Echo unit, which is like a tape loop thing. 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. solo: 530ms -- feedback: 5-6 repeats, 5 A.M. 2015/2016 live version: 360ms -- feedback: 8 repeats -- delay level 100% -- delay type: digital, Great Gig in the Sky - live version There are numerous modern delays that try to replicate this multi-head delay sound, like the Catalinbread Echorec, Strymon Volante, and Boonar Multi-Head Drum Echo from Dawner Prince Electronics, which David himself has used. intro: 780ms, Coming Back To Life - Pulse version (MXR Digital Delay II and TC 2290 Digital Delay): Generally speaking, the sound on the album is pretty much what came out of his amp. delay 1 time (main delay): 380ms -- feedback 8-10 repeats - delay level: 95% -- delay type: digital 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. second solo: (early in song) 580ms -- feedback: 4-5 repeats -- delay level: 25% -- delay type: analog One of These Days - gated tremolo section isolated. You can simulate the amp tremolo with just about any tremolo pedal or tremolo amp with a square wave shape. A Great Day For Freedom - Pulse version (TC2290 Digital Delay): Another Brick in the Wall Part II (live): Any Colour You Like - 1994 live versions: Astronomy Domine - Pulse version (MXR Digital Delay System II for solo). But delay is not the only effect that Gilmour tends to use. 2nd delay 165ms. DELAY TYPES - ANALOG AND DIGITAL - David has used numerous types of delays in his carreer, both analog and digital. Its a famous echo unit used by many artists, and useful for varying instruments. It's a beautiful sound, but David did not use tape delays like this. This is actually not quarter-note triplets. There is also the "modulation" factor which is a common feaature on modern analog and digital type delays. 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. It is around 294ms on the studio recording. Even better is to run the delays parallel so one delay does not repeat the other, which sometimes sound messy. slide solo: 550ms -- feedback: 4-5 repeats Great Gig Slide Guitar Breakdown. Tim Renwick solo: 520ms, Louder Than Words: 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. Head 4 = 300ms (or 75ms x 4) .Head 4 = 380ms (or 95ms x 4) 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. 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. Speaking from personal experience, furthering my understanding of tone has simultaneously been one of the most rewarding and frustrating experiences of my life. 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. 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). Listening to the trails specifically, something a little darker like a DM-2 would do it. Delay Level: This is the volume level of the delay repeat compared to the original signal. Reverb was also added at the mixing desk when recording or mixing. It also had delay width and frequency knobs in the Sweep section to add some chorus, vibratto, and flange effects, but I think David rarely used those, if ever. With that said, the rest of the article is designed to . 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. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. 630ms: feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital, Sorrow Solo - Pulse version (TC 2290 Digital Delay): Any delay with a 100% wet signal output can be set up in a parallel signal chain to do this. 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: 380ms -- feedback: 5-6 repeats, Marooned - 1994 live version: I'm not saying David sounds nothing like this live, but you are hearing the natural hall or stadium reverb of the venue in these recordings and in many cases, studio reverb added in the mixing stage. 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 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. intro: The level or volume knob would be set to maximum on most delays for this. His main analog delays were nearly always the drum type, like the Echorec, which only had high end-roll off as the magnetic drum and record/playback heads aged. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. . 234ms and 150ms also works. RLH Intro live in 1984 - Live 1984_Hammersmith Odeon and Bethlehem Pennsylvania. 520ms -- feedback: 5-6 repeats - delay level: 20% -- delay type: analog, Money solos- Pulse version (TC2290 Digital Delay): I run it last in the signal chain and I almost always have a light plate reverb sound on when I play. Money solo - studio version - multiple guitar tracks were recorded with different delay times (Binson Echorec 2 and Binson PE603): 530ms -- feedback: 4-5 repeats, Coming Back To Life: His most commonly used delay times were in the 294-310ms range and 430ms. He usually had the time set to 440ms. The main rythm in the left and right channels of the studio recording is domantly the 3/4 time. solo: 440ms. It had a maximum delay time of 320ms, but could be expanded to 1280ms by adding additional memory chips. Bass: 5-6. 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. 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. 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! The Echorec was an old school mechanical delay that utilized a spinning drum disk wrapped in magnetic recording wire rather than magnetic tape. To get the 4/4 time delay, simply multiply 126.7 x 4 = 506.8ms. 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. All rights reserved. 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. This effect seems like reverb, but it is much different and less tone-robbing than reverb (reverb was almost never used in a Gilmour rig). first solo: 310ms -- feedback: 2-3 repeats. Adjust the tone to suit your amp/speaker tone. I list a number when I can clearly hear them, otherwise 4-5 repeats is usually close. 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. These are 5 note scales, pretty much the simplest scale a guitarist could use. 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. Then go to a website with a Delay Time Calculator, like the one on this page. 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. intro: 425ms Electric Mistress V2, V3, or V4: This warble is similar to a light chorus sound, with high end roll-off. delay 2 time (second delay ADT effect): 80ms -- feedback 2-3 repeats - delay level: 30% -- delay type: digital, Sheep - 1977 live version: HH IC-100 amplifier with built in tremolo. A second and third guitar repeat similar slide phrases, playing slightly behind the first guitar. delay 1 time: 430ms -- feedback: 5-7 repeats - delay level: 30% -- delay type: warm digital David used a Binson Echorec for his delay at the time DSOTM was recorded, but the Binson cannot create a delay as long as 440ms. delay 1: 430ms -- feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital 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. Here is a clip of a single 330ms delay playing the Blue Light riff. third (dry) solo: simulate studio ADT with a 40-50-ms slapback delay -- feedback: 1 repeat 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. David Gilmour Sound Part 4/4: DELAY & SETUP HISTORY - YouTube David Gilmour used the MXR Digital M-113 Delay, the Binson Echorec, and the TC Electronic 2290 in his recordings. Volume 85% Getting an original Binson Echorec these days is nearly impossible. solo: 430ms -- feedback: 7-8 repeats - delay level: 20% -- delay type: digital, Time - 2016/15 live version: His tone is instantly recognizable and unique. 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. The effect actually works fine with only two delays. The delay volume is often not very loud in the studio recordings, so in a full band context, the other instruments mask the repeats. Some of the most used digital delays in his live rigs were the MXR 113 Digital Delay (1977-1986), the MXR 151 Digital Delay System II (1983-2016), the Boss DD-2 (1983-1986, 2006), the TC2290 Dynamic Digital Delay (1987-1994), and the Free The Tone Flight Time FT-1Y Digital Delay (2015-2017). 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. slide violin intro: 300ms -- feedback: 8-9 repeats - delay level: 90-100% -- delay type: analog delay 1: 380ms -- feedback 10-12 repeats - delay level: 95% -- delay type: digital 650ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Intro / Outro - Pulse version (TC 2290 Digital Delay): fourth solo: 40-50-ms slapback delay -- feedback: 1 repeat, Echoes E.g the RATE for most settings had been about 22 more clockwise (slightly faster sweep) on the Wall compared to the Animals tour. delay 2: 254ms -- feedback 1-2 repeats - delay level: 55% -- delay type: digital delay 2 alternate: 90ms -- feedback 1-2 repeats - delay level: 55% -- delay type: digital, Run Like Hell - Delicate Sound of Thunder and Pulse - two delays in series (TC 2290 Digital Delay for main delay + 2290 ADT effect): Here are what the settings mean -. solo: 540ms, Poles Apart - Pulse version (TC 2290 Digital Delay): buildup and arpeggio delay time: 300ms -- feedback: 7-8 repeats - delay level: 40% -- delay type: analog, Echoes - live Gdansk Version: NOTE: This website is frequently updated. It created a unique stuttered stacatto rhythm. 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. 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. If you look at head 4 as 4/4 time, the others would break down like this: Head 4 = 4/4 The delays are set in series like this: studio . Program Position 3 is equivalent to Switch Position 6 on the real Echorec, which is Head 3 + Head 2. Next cut that delay time in half so you hear two repeats per beat, or 2/4 time. It was used for the early live version of, There is a misconception that David always used the Echorec for its multi-head function, but in reality he primarily used it in single playback head mode, just like any other typical delay. outro solo : 550ms -- feedback: 3-4 repeats, Take It Back: 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. middle section: 1000ms -- feedback: 4-5 repeats For The Wall he switched to the MXR Digital Delay for those accurate and pristine time setups. DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. 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. Time intro - Isolated guitar from studio mix. Echorec Style Delay Jamming - 428ms and 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. 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. Solo: 440ms ? first solo: 450ms -- feedback: 4-5 repeats -- delay level: 20% -- delay type: analog I am talking about the natural reverb sound of the room or hall the amplifier or speaker cabinet was recorded in, or studio reverb added to simulate it. Often during the live songs that do have very loud delays, you do hear the repeats clearly. 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. 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. There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. Its also easier for live situations as changes can be made on the fly. Delay times vary by song but anything between 300mms and 600 makes a decent one size fits all. 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 want to try the two-delay effect on one amp, it is best to place the second delay after the main 380ms delay in your signal chain, and set the second delay repeat volume MUCH lower, with roughly 1/3 the repeats of the main delay. He is also known for using the legendary Proco Rat and MXR Phase 90. When playing alone, I find I often turn the delay volume down, but with a band or backing track I turn it up. The Echorec playback heads were spaced so the input signal would repeat at specific intervals, adding delay repeats upon delay repeats. It helps to have a delay with a digital display to set the exact delay time. Occasionally David may be using a long repeat time on one delay, and a shorter repeat time on another delay simultaneously. The last 8 minutes of the song is a rambling collage of echo repeats. By porsch8 December 21, 2005 in Effects and Processors. - David Gilmour from Guitar for the Practicing Musician, 1985, We also have an old MXR DDL (MXR Digital Delay System II) digital delay unit built into a rack unit. When the IC chips became less expensive to manufacture Boss simply rebranded it as a new, lower priced version rather than lowering the price of the DD-2. Reaction score. If you want this sound and have a delay that shows the time in milliseconds, follow these steps. Let's see some of the units he used over time. The Tone From Heaven: SETTINGS You can also add a second delay in series to thicken the sound, combining the 3/4 time with a 4/4 time delay. Here is my example of this sound. The official live recordings often have an even larger delay sound than the studio versions. Although it is simple to play, you must play exactly in time with the delay or it will sound sloppy. What delay pedal does David Gilmour? The early Boss DD-3 pedal had exactly the same circuit as the DD-2. The third delay is probably in 3/4 time, but I can barely hear it. An examination of the individual tracks from some of the 5.1 surround sound studio album releases reveals both were used. 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. there is no delay on the studio recording, but the multiple multi-tracked guitars playing slightly out of time with eachother make it sound like there is delay. This is also one of the few Gilmour solos that features a heavy reverb effect, so it does not sound the same with delay only. With regards to the actual sound of the echo repeats, there are essentially two types of delays - analog and digital. Members; 529 Members; Share; Posted December 21, 2005. Pink Floyd's "Shine On You Crazy Diamond" is a classic, thanks in large part to David Gilmour's otherworldly guitar playing. I think the 2290 mode on the Flashback does very well for playing anything Gilmour, and if you check out some of Bjorn Riis's Floyd jams on . Give Blood But which delay pedal (s) does/did he use? solos: 375ms. How to Nail Gilmour's "Comfortably Numb" Solo | Reverb News Some delays allow you to dial the volume level of the repeat louder than the signal level, which usually means 100% is when the knob is set to 12 o'clock. RLH Intro live 1984 style - Boss CS3 compressor, Tube Driver, Boss CE3 chorus, Two Boss DD-2 delays, into a Twin Reverb. intro slide guitar: 1023ms The primary delay sounds best when in time with the heartbeat tempo in Time, usually somewhere around 240 - 250BPM (beats per minute). Unless otherwise noted, all delay times are shown in quarter notes But to sum up, both these digital units sound amazing, because if it didnt David Freakin Gilmour wouldnt be using them. solos: 440ms -- feedback: 7-8 repeats - delay level: 15% -- delay type: analog 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. Flashback/David Gilmour | The Gear Page David would use the latter setting for most of the album. On the left is my standard setting range for the early 1970s Gilmour Echorec sound. POWER BOOST PLACEMENT - The Colorsound Power Boost was an overdrive that David used throughout the 1970s. delay 1: 250ms solo: 680ms, Another Brick in the Wall Part 1: A little later he switched to the MXR Digital Delay. first solo and fills: 470ms Alt. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. 380ms -- feedback 7-8 repeats - delay level: 90% -- delay type: digital, Run Like Hell - 1984 live versions - two delays in series, each with a different delay time (MXR M113 Digital Delay and Boss DD-2): Parallel is better than in series because the one delay does not repeat the other, and the repeats can run longer without going into oscillation. For Run Like Hell, David's using what he refers to as "triplets".. I use a compressor or a Tube Driver for this. 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. The type of multi-head repeats varied depending on which of the four playback heads were selected. The second delay is set for 254ms, 1 repeat, with the delay volume set at 50%. It's actually a metallic disc that spins around. The mode should always be set at 800ms, unless you want a short slapback delay for something like the dry solo in Dogs. - first is 380ms delay in the left channel, then 380ms+254ms in the right channel. You could get some wonderful delay effects that aren't attainable on anything that's been made since. solo: 580ms, A Great Day For Freedom - Pulse version (TC2290 Digital Delay): Money solos - live 1977 version (MXR Digital Delay System I): Gilmour delay: '60s-'70s: Binson Echorec II. I change my echo settings fairly often in concert. It features two separate bass guitar tracks played in time with a single head delay (head 4) from the Echorec. Every aspect of his tone can change on different albums, even on different tracks of the same album! I usually try, in solos, to set the DDLs to have some rhythmic time signature in common with the tune. 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. That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. On Reverb, the average Echorec sells for between 3500$ to 5000$. 614ms -- feedback: 6-7 repeats, Rattle That Lock: Fat Old Sun- 2015/16 live version: During the tour a T-Rex Replica was added specifically to use for "Echoes". There are several modern Echorec style pedals, including a few with more accurate playback head controls than the Catalinbread, but the Cat Echorec is a fairly no nonsense, simple to use version that sounds great. I the clips below I play the 470ms delay first, then the 94ms delay, then both in series together.
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