If your delay does not have a dry defeat feature, it is pointless to use in a parallel setup. delay 1 time (main delay): 380ms -- feedback 8-10 repeats - delay level: 95% -- delay type: digital 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. 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. 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. 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. 540ms, Take A Breath: Volume 85% But to sum up, both these digital units sound amazing, because if it didnt David Freakin Gilmour wouldnt be using them. 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. Its more compact, more reliable, and just easier to use. delay 2 time: 360ms, Us and Them - Pulse version (TC 2290 Digital Delay): That ADT slapback sound can also be heard on other Run Like Hell concert recordings, like Delicate Sound of Thunder, Pulse, and David Gilmour Live at Pompeii, but to a lesser effect. Then go to a website with a Delay Time Calculator, like the one on this page. Last update September 2022. There are several reasons. 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. For example, 380ms is your triplet time. For David's 2006 rig one output from his Mk 2 Cornish-built pedalboard went to his main Hiwatt amp and 4x12 speaker cabinets. 1 2. I do hear what sounds like multi-head repeats in the chorus section of the first band demo however, so that could have been the Echorec. A good chorus like the Boss CE-2 or CE-5 can also be used in place of the flanger. It is around 294ms on the studio recording. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. Run Like Hell with 380ms and 507ms delay in series. - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. intro: 640ms: feedback: 4-5 repeats - delay level: 25% -- delay type: clear digitalsolos: 540ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Solo and intro/outro - Delicate Sound of Thunder version (TC 2290 Digital Delay): I use chorus, little delay and some reverb on my amps clean setting. There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment. There are times when I have both running at the same time for certain effects. David would use the latter setting for most of the album. 8-10 repeats on each. Andrew Bell has 42 posts and counting. Gilmour's Binson Echorec 2 model T7E from 1970-71. Most analog type delays have a lower quality repeat decay that rolls off more high end on each repeat. . David was very much in control of his sound system We rarely added effects to his guitar in the control room. The best way I have found to create the smoothest delay is to simply set it in time with the song tempo. David Gilmour adjusting his MXR rack effects from April 1984, including the MXR 113 Digital Delay, and MXR Digital Delay System II. 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. delay time: 450ms -- feedback: 7-8 repeats -- delay level: 25% -- delay type: analog/digital mix, Another Brick in the Wall Part II (live): The third delay is probably in 3/4 time, but I can barely hear it. What delay does David Gilmour use? - Killer Guitar Rigs David probably just uses the term triplet because what he does has a similar feel. solo: 530ms -- feedback: 5-6 repeats, 5 A.M. 2015/2016 live version: 1. One day, Roger decided to take some of the techniques that I was developing and try them out himself on bass. It's actually a metallic disc that spins around. It has a digital readout, but it's really nowhere close to being accurate. intro: 630ms -- feedback: 4-5 repeats -- delay level: 17% -- delay type: analog To get the 4/4 time delay, simply multiply 126.7 x 4 = 506.8ms. Later versions of the DD-3 have different circuits. 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. 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. 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 . 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. Head 3 = 3/4 solos: 660ms -- feedback: 6-7 repeats, Time: 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). - David Gilmour from Guitar for the Practicing Musician, 1985. 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. The MXR 113 was released in 1976 and David first used it for Pink Floyd's Animals tour in 1977. middle section: 1500ms -- feedback: 10-12 repeats The amp David used for the RLH studio recording is not known, but presumably it was a Hiwatt or Mesa Boogie Mark I. Electric Mistress V2, V3, or V4: David has used many different types of compressors throughout his career, but a few common ones are the MXR Dynacomp, Boss CS-2, and Demeter Compulator. 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. It also stems from the fact that analog equipment is frequently much more expensive than it is worth. Gilmour's delay on Coming Back to Life | The Gear Page 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). Members; 529 Members; Share; Posted December 21, 2005. I go a little in-depth for all three of them, and Ill give some tips on how you can emulate his sound. It's fun to just jam around using the unique delay rhythm it creates. See all posts by Andrew Bell. That second delay should just barely be audible, as too much volume can make a double tapped mess of the main delay. solos: 300ms -- feedback: 3-4 repeats - delay level: 15% -- delay type: analog With regards to the actual sound of the echo repeats, there are essentially two types of delays - analog and digital. 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. 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). For the studio albums however, there is definitely reverb in many of the recordings, and in some cases much more so than delay. You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms). So why don't you hear the repeats most of the time? 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. RLH Intro live 1984 style - Boss CS3 compressor, Tube Driver, Boss CE3 chorus, Two Boss DD-2 delays, into a Twin Reverb. Some are actually too high quality for my personal taste. David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. slide guitar: 440ms -- feedback: 5-6 repeats -- delay level: 30-35% -- delay type: analog 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. It was usually set for single head and a fixed time at about 310ms. The IC-100 tremolo was set to maximum depth and the trem speed was set so there are two pulses for every delay repeat. There are several parallel looper pedals that can be used for the actual "looping" part of the setup. 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. "Square wave" means the sound wave looks square shaped, rather than wavy. - David Gilmour, Guitar World magazine. By the way, you might also want to check out our top picks for the best delay pedals, our guides to the delay pedals used bySlashandEddie Van Halen, as well as our tips for where to place your delay in the chain withreverbandchoruspedals. You can also add a second delay in series to thicken the sound, combining the 3/4 time with a 4/4 time delay. He then upgraded to an MXR Digital Delay System II. If you listen to some of the better bootleg recordings and compare them to the official live releases, you will find David's real live sound is typically drier, with less delay. You must remember this, Those settings are used for a stadium show, set to produce for a huge arena, not your 8 x 10 bedroom, and not your 100 x 100 bar. The first delay is 380ms, 10-12 repeats, delay voume 95%. During the tour a T-Rex Replica was added specifically to use for "Echoes". Great, lets get started. He became known for this effect as he used it for his guitar solo in practically every queen concert. I also use it to add some of the bigger room and concert hall sounds. 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. 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. Sometimes these are called "parallel mixers" or "looper" pedals. But the delay was in 3/4 increments of the beat and the vibrato went with the beat. That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. The other output went to a Sound-on-Sound interface built into David's rack, which fed a second Hiwatt amp and 4x12 speaker cabinet. 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. 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. 650-680ms were occasionally used for long delays. 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): One of the smoothest guitarists in rock, Pink Floyd's David Gilmour has built a reputation for great melodic control and an expressive soloing approach that has influenced millions. The repeats are bright and shimmery but not brighter than the original signal. Head 3 = 225ms (or 75ms x3) ..Head 3 = 285ms (or 95ms x 3) The second delay is set for 254ms, 1 repeat, with the delay volume set at 50%. intro: 425ms You can use two delays in series (one after the other) or in parallel (each in a seprate signal path) to get David's multi-head Echorec style repeats. The Different Effects Used By David Gilmour Throughout His Career For The Wall he switched to the MXR Digital Delay for those accurate and pristine time setups. If running the delays parallel, set for about 12 repeats on each. david gilmour delay settings | London Guitar Academy 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. 1st delay 470ms. David is using two delays from a PCM70 rack delay to simulate the Echorec sound. 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. You can check this by mute picking a single note simultaneous with a drum beat, then listen to the repeats. 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. David Gilmour used the MXR Digital M-113 Delay, the Binson Echorec, and the TC Electronic 2290 in his recordings. 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. 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. From long sustained notes that seem to go on forever, to the most tasty of blues licks, his sound is instantly recognizable. When playing alone, I find I often turn the delay volume down, but with a band or backing track I turn it up. Syd's theme - Hollywood Bowl March 2016. L channel -- 650ms with a single repeat, then another single repeat at 1850ms. David almost always uses delays in his live rigs, not reverbs. If you set it too high it will self oscillate into a whining feedback. middle section: 1000ms -- feedback: 4-5 repeats You can also play in time with the delays in a kind of shuffle rhythm. RLH Intro live in 1984 - Live 1984_Hammersmith Odeon and Bethlehem Pennsylvania. Note that setting. A 300ms and 380ms delay had the heads repeating in these specific delay times. 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. There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. It was my very first delay and one of my favorite pedals for Gilmour-ish delay. This 3/4 and 4/4 delay can be used for more than just some Echorec effects. E.g the RATE for most settings had been about 22 more clockwise (slightly faster sweep) on the Wall compared to the Animals tour. first solo: 310ms -- feedback: 2-3 repeats. analog gear was not as good as digital at the time, so the belief that analog is always better than digital arose. On the left is my standard setting range for the early 1970s Gilmour Echorec sound. Solo (several multi-tracked guitars): main delay 312ms / second delay to simulate offset multi-tracked guitars: 440ms, Time - Pulse version (TC 2290 Digital Delay): 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. 1st delay 240ms. The repeats in the RLH studio recording sound clear and clean, so the MXR was probably the delay used for the studio recording, and it was used for the 1980-81 live performances. 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. Set one delay for 440ms, 2 repeats, 30-35% volume. Hes got the sort of guitar-god charisma that comes with his insane talent. BREATHE and GREAT GIG IN THE SKY SLIDE GUITAR VOLUME SWELLS - Breathe from Dark Side of the Moon features some beautiful David Gilmour slide guitar work. I use 240ms. #4. That equates to 250 - 240ms. 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. 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. Often what I hear in the recordings is just natural room or hall reverb. SHINE ON YOU CRAZY DIAMOND 1-5 settings. David Gilmour's delay sounds - YouTube He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. rhythm/verse/chorus sections: 340ms -- feedback: 3-4 repeats Sound like David Gilmour (Pink Floyd) By Busting The Bank! David usually sets his delays in time with the song tempo, which helps hide the echo repeats. 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. It was set for a light overdrive setting and was most likely an always-on pedal. Its hard to give an estimate as every pedal will respond differently. 570 x 75% = 427.5. The Mode switch is in position 7, which is Head 3 + Head 4. 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. moderate reverb, probably from the plate reverbs at Abbey Road studios. 430ms, Faces of Stone - 2015/16 live version: The third solo is also artificially double tracked, which you can simulate with a short 60-90ms slapback delay with one repeat. Volume 65% David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. For his 2015 tour he used a Providence Chrono Delay and two Flight Time delays. 1st delay 500ms. 2nd delay 375ms. 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. 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. 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. The other delay is set in 4/4 time (quarter notes) at 507ms, or one repeat on every beat. 2nd delay 570ms. 8-10 repeats on the first delay and as many repeats as possible on the second, or as long as it can go without going into oscillation, which is around 3-4 seconds on most delays. 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. 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. Gilmour used the same 294ms delay from the Echorec plus the built in vibrato from an HH IC-100 amplifier, which was a very choppy tremolo effect. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. The beginning and end of each tremolo pulse or "wave" is gated and clipped off, rather than ramping up and down like a soft wave. 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. intro and verse volume swells, first solo: 620ms -- feedback: 6-7 repeats If the repeats are slower, reduce it. 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). Fine tune it until you hear the repeats are exactly in sync with the song tempo. A large part of that comes from Davids use of delay. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. Set the 600ms dealy to half the repeats of the main delay, with a MUCH lower delay volume. Warm for an anlog delay usually refers to the high end roll-off decay, and warm for a digital delay usually means the repeats are not brighter or harsher than the original guitar signal, but are the same or have slightly less high end.
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