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solo: 430ms -- feedback: 7-8 repeats - delay level: 20% -- delay type: digital, Time - 2016/15 live version: On the one hand, finally cracking one of my favourite guitar player's [] Other than a few instances like that, reverb from David rig was not used and I do not recommend it. Dave likes it because even though it's a digital unit, it still sounds a little dirty, like a tape unit. So why don't you hear the repeats most of the time? 2. solo: 540ms -- feedback: 4-5 repeats -- delay level: 18-20% -- delay type: analog, Any Colour You Like - 1994 live versions: 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 . 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. intro: 630ms -- feedback: 4-5 repeats -- delay level: 17% -- delay type: analog HOW TO FIND THE PROPER DELAY TIMES - You can go here for a song-by-song list of Gilmour's delay times, but it is easy to find a delay time that works with a song tempo, even if you can't clearly hear the echo repeats when listening. fourth solo: 40-50-ms slapback delay -- feedback: 1 repeat, Echoes 480ms: feedback: 7-8 repeats - delay level: 75% -- delay type: clear digital, Sorrow: - 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. Pink Floyd is known for their use of soundscapes and textures that would later characterize genres such as progressive rock and psychedelic rock. Any delay with a 100% wet signal output can be set up in a parallel signal chain to do this. David would use the latter setting for most of the album. second solo: 560ms -- feedback: 3-4 repeats, On An Island - 2006 live versions: Time intro - Torino, Italy, Sept 13, 1994. Speaking from personal experience, furthering my understanding of tone has simultaneously been one of the most rewarding and frustrating experiences of my life. slide guitar: 440ms -- feedback: 5-6 repeats -- delay level: 30-35% -- delay type: analog 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. 5. Run Like Hell with 380ms and 254ms delays in series - first is 380ms delay in the left channel, then 380ms+254ms in the right channel. 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. For example, 380ms is your triplet time. He set the time to 310ms for most everything. April 9, 2022. by Joe Nevin. Two delays running at different times fill in gaps between delay repeats, making the delay sound smoother with less obvious repeats. Below is an example using two digital delays in series. Its more compact, more reliable, and just easier to use. Most analog type delays have a lower quality repeat decay that rolls off more high end on each repeat. Set it to about 370 milliseconds, mix it low, and set the repeats to about 3-4 times. 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. Listen to some of the 5.1 live tracks separately and you can clearly hear this. He is also known for using the legendary Proco Rat and MXR Phase 90. 560ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Solo - Strat Pack 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. 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. Last update September 2022. delay 1 time: 430ms -- feedback: 5-7 repeats - delay level: 30% -- delay type: warm digital Delay volume 50%. . 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. He always kept the Echorec in tip top shape, and after the MXR Delay System used a variety of digital delays, including the DD2 and later the TC 2290. Below is an isolated excerpt of this part. It only added a very slight gain boost to his clean amp tone, but . In live performances he usually used playback Head 4 for the maximum delay time of around 300ms. solo: 500ms, High Hopes - live versions His talent doesnt just limit to his skill, but also to his creativity. 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): There are several reasons. 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. second solo: 660ms -- feedback: 5 repeats, Comfortably Numb - 2015/16 RTL Tour: For The Wall he switched to the MXR Digital Delay for those accurate and pristine time setups. 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. Syd's theme: 370ms and 480ms It's just like the old Echoplex unit - David Gilmour from Guitar for the Practicing Musician, 1985, The Binson was an Italian made delay unit. That may be just my fantasy; I don't know. 2nd delay 570ms. solo: 380ms -- feedback: 5-6 repeats, Marooned - 1994 live version: Run Like Hell with 380ms and 254ms delays in series. 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, . Below is my replication of that 1984 ADT sound using two delays in series to two different amplifiers, in stereo. 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. 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. -, David Gilmour interview by Bob Hewitt from Guitarist, June 1986, FINDING THE "TRIPLET" TIME DELAY FOR A SONG. A bit of delay can smooth out the unpleasant, raw frequencies you get from a fuzz box. In this video I'm demonstrating how to set up your David Gilmour delay sounds and settings. Its not rare to see Pink Floyd play 10-minute long solos over what can only be described as atmospheric playing from the band. The level or volume knob would be set to maximum on most delays for this. This is the primary delay time you hear in the song. I list a number when I can clearly hear them, otherwise 4-5 repeats is usually close. Often what I hear in the recordings is just natural room or hall reverb. In a new tutorial, musician Tracy Evans demonstrates how to achieve David's "sound on sound" infinite sustain effect in Live, using the Filter Delay effect. Copyright Kit Rae. The slide parts were made up of several multi tracked recordings, each playing slightly different, but similar phrases. The effect actually works fine with only two delays. The Mooer Elec Lady is a good, inexpensive clone of the Electric Mistress that sounds much closer to the original large box Mistress. for a song-by-song list of Gilmour's delay times, but it is easy to find a delay time that works with a song tempo, even if you can't clearly hear the echo repeats when listening. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. 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! Sometimes these are called "parallel mixers" or "looper" pedals. Note that I am not talking about spring or amp reverb, or a reverb pedal, which is a completely different sound. Volume 65% SOUND-ON-SOUND - David Gilmour had a special Sound-on-Sound (S-O-S) rig built for performing the intro to a new acoustic version of Shine On You Crazy Diamond for his 2001-2002 Meltdown concerts and he used this same rig for his 2006 tour. He used analog delays like the Binson Echorec throughout the 1970s and one has been seen in his Medina studio from 2013-2017. His most commonly used delay times were in the 294-310ms range and 430ms. If running the delays parallel, set for about 12 repeats on each. Verse / Chorus : TC 2290 Digital Delay: 430ms Echorec head 4 = 312ms / Echorec head 1 - 78ms One of These Days - gated tremolo section isolated. There are many effect pedals that simulate those sounds, and those types of simulated reverbs are also usually called plate, room, or hall reverb. - David has used numerous types of delays in his carreer, both analog and digital. delay 1 time: 90ms I use chorus, little delay and some reverb on my amps clean setting. You could get some wonderful delay effects that aren't attainable on anything that's been made since. That equates to 250 - 240ms. It had a maximum 16kHz bandwidth up to 800ms, with a maximum delay time of 1600ms, expandable to 3200ms. Generally speaking, the sound on the album is pretty much what came out of his amp. A few of David Gilmour's vintage Binson Echorec 2 model T7E delays. Fat Old Sun- 2015/16 live version: On the left is my standard setting range for the early 1970s Gilmour Echorec sound. The delay and reverb are usually not mixed particularly loud, but the overall combined wet delay/reverb mix is very effective. David is using two delays from a PCM70 rack delay to simulate the Echorec sound. Note or mark that time setting on your delay. studio album solo: 275ms 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. Gear used: Telecaster into a fender twin Reverb and Reeves Custom 50, Boss CS-2 Compressor, Tube Driver set for light overdrive, Electro-Harmonix Electric Mistress, TC Nova delay. I use the MXR with the read-out on it, so I instantly have the right tempo. He used both in his 1980s live rigs, and continued to use the MXR System II up until 2016. This 3/4 and 4/4 delay can be used for more than just some Echorec effects. Electro-Harmonx has made a few small boxed versions of the Electric Mistress, but these have different circuits and sounds as the originals. Find the proper delay time for the song as described above, then let's do some "Echorec math". alternate 2nd Solo: 540ms Money solo - studio version - multiple guitar tracks were recorded with different delay times (Binson Echorec 2 and Binson PE603): Reverb was also added at the mixing desk when recording or mixing. The Binson Echorec is an analogue echo unit made by Binson in Italy. 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): Another option is to run two delay pedals simultaneously. Last update July 2022. 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. Below are examples of a few ways to set up the type of parallel signal chain used in Gilmour's rigs. Heavy reverb. outro solo: 430-450ms, One of These Days studio version (Binson Echorec): intro: 780ms, Coming Back To Life - Pulse version (MXR Digital Delay II and TC 2290 Digital Delay): It was compiled by measuring the echo repeats in official releases and bootlegs of live recordings, and from delay times visible on the LCDs of David's digital delays. The last 8 minutes of the song is a rambling collage of echo repeats. delay 1 time (main delay): 380ms -- feedback 8-10 repeats - delay level: 95% -- delay type: digital ONE OF THESE DAYS - One of the first recorded uses of Gilmour's "triplet" delay technique using a Binson Echorec was in the song One of These Days from Pink Floyd's Meddle album in 1971. All those divisions and subdivisions will be in time with the song. Place the volume pedal before the delay in the signal chain so when you drop the volume to zero the delay repeats still decay naturally. Bass: 5-6. delay 2: 375ms, Run Like Hell - two guitars multi-tracked (delay used was likely the MXR M113 Digital Delay): 3rd solo: 430ms, Money solos - 2015/16 live version: The specific delays he used were as I said the Binson Echorec, the MXR M-113 Digital Delay, and the TC Electronic 2290. 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. solo: 430ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Keep Talking: 570 x 75% = 427.5. REEL-TO-REEL SOUND-ON-SOUND - David did an early version of sound-on-sound way back in October of 1970, in one of the few times Pink Floyd performed Alan's Psychadelic Breakfast live. The third delay is probably in 3/4 time, but I can barely hear it. It is around 294ms on the studio recording. Mar 8, 2013. 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. chords / arpeggios: 480ms It has a digital readout, but it's really nowhere close to being accurate. 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. 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). - David Gilmour. For the multi-head Echorec sound needed when performing the intro to Time and the four-note Syd's theme section of Shine on You Crazy Diamond he used two delays, and sometimes three! 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 the delay was in 3/4 increments of the beat and the vibrato went with the beat. It's fun to just jam around using the unique delay rhythm it creates. 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 original band demo, heard in The Wall Immersion Set, has a much bouncier, more disco-like feel, so I think the 4/4 delay is much more prominent in that mix. delay 2: 430ms, In Any Tongue - 2015/16 live version: As the song plays on I dial the delay volume and number of repeats higher and higher. 1st delay 500ms. He began using digital delays in place of the Echorec around 1977. These were state of the art delays at the time, but were rather noisy effects compared to modern digital delays. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. Gilmour's Binson Echorec 2 model T7E from 1970-71. - David Gilmour from Guitar for the Practicing Musician, 1985. With that said, the rest of the article is designed to . 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. He then upgraded to an MXR Digital Delay System II. 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. Kits Secret Guitar, Gear, and Music Page Although it is simple to play, you must play exactly in time with the delay or it will sound sloppy. The Effect Level (volume) and Feedback (number of repeats) will vary. Solo: TC 2290 Digital Delay: 430ms, Time - Delicate Sound of Thunder version (TC 2290 Digital Delay) : In this clip I'm using Coming Back to Life as a reference with 700ms. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. One of the ways to do that, is by using your effects creatively, just as he does. - In general, no - but sometimes, yes. 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. Shorter delay times are more obvious because the repeats are heard in between notes and phrases. 500ms -- feedback: 5-6 repeats. From long sustained notes that seem to go on forever, to the most tasty of blues licks, his sound is instantly recognizable. 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. If you have a clean amp, some settings to start with would be: Gain: 3 Treble: 7 Mids: 7 Bass: 6 Reverb: 5-6 Below is a breakdown switching between the various tracks of all three solos. 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. 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. I don't think I'll ever stick to one instrument - but the great thing about life is you don't have to. 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. 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. David almost always uses delays in his live rigs, not reverbs. It makes for a sound that really adds depth to the guitar tone in the mix, but is not cluttered by delay repeats. Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. The repeats had a warm high end roll off, similar to David's Binson Echorecs. 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. In four beats you will hear 5 repeats (including the pick), and and that fifth repeat will time right on the fourth beat. To get the Pink Floyd sound, you'll need to use some specific equipment and settings. It sounds very complex because the delay is filling in and creating a rhythm in between the notes David plays, but it is actually rather simple to do. 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. The fact that these two delays were studio effects may explain why David never played the slide parts live in the original Dark Side of the Moon concerts. David's pedal board had two Boss digital delays, but he also had an MXR 113 Digital Delay System and MXR Digital Delay System II in his rack. You can also play in time with the delays in a kind of shuffle rhythm. first solo and fills: 470ms To truly delve into David Gilmour's sound, you'd need to do a lot of research and buy a lot of vintage gear. I have a slight roll off of the high frequencies on the repeats to mimic the Echorec sound. 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. Gilmour used a similar gated tremolo effect for the sustained chords in the verse sections of Money, using the noise gate from an Allison Research Kepex (Keyable Program Expander) studio module, modulated with an external sine wave generator (according to engineer Alan Parsons). Here is a clip of a single 330ms delay playing the Blue Light riff. There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. The delay time must also be precisely in time with the song tempo. DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. verse: 360ms 525ms, Sorrow Solo - 2016/15 live version: Regardless, it is the combination of both delay and reverb that makes the delay sound so smooth in some instances. Solo: 300ms. You can check this by mute picking a single note simultaneous with a drum beat, then listen to the repeats. Last update July 2022. Brian May (of Queen) did the same effect a few years later on Brighton Rock and Son and Daughter using his modified Echoplexes. It sounds very complex because the delay is filling in and creating a rhythm in between the notes David plays, but it is actually rather simple to do. Check here for more Big Muffs to achieve the Gilmour tone. Gilmour used the TC Electronic 2290, but any digital delay will do. There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. Shown below are some typical Gilmour DD-2 delay times. RLH Intro live in 1984 - Live 1984_Hammersmith Odeon and Bethlehem Pennsylvania. CATALINBREAD ECHOREC - One of my favorite simple Echorec style delays is the Catalinbread Echorec. Run Like Hell Intro Runs - Examples of the left hand muted runs up and down the neck to create some of the intro delay sounds similar to what David Gilmour has dome when playing this song live. second solo: 490ms, What Do you Want From Me? Head 1 = 75ms .Head 1 = 95ms. The clip below is played with those same 428ms and 570ms delay times. - David Gilmour, Guitar World magazine. Sometimes he even uses two delays at once to create certain double tapped echo effects or to make a solo sound bigger. When you play across it, it helps you to double-track yourself. David's Echoes delay time of 300ms, one for the delay in Time, and 423ms in the display. Shown below are my Boss delay time settings to replicate the Run Like Hell band demo recording sound. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. I don't care how I get it. It was used for the early live version of On the Run in 1972, the third Money solo, and used on Pink Floyd tours until 1975. 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). 1st delay 428ms. The other delay is set in 4/4 time (quarter notes) at 507ms, or one repeat on every beat. One is added before the signal hits the amplifier and speakers, so the reverb itself is amplified and prcessed by the amplifier circuitry.