The third delay is probably in 3/4 time, but I can barely hear it. First is the delay, then the square wave tremolo, then both together. This the dominant delay, but there is also a 300ms delay low in the mix Some delays that can do this are the Boss DD2/3, TC Electronics Nova Delay, Providence Chrono Delay, Boss DD20, Free The Tone Flight Time, Eventide Timefactor, Strymon Timeline, Empress Super Delay, EHX Deluxe Memory Man, TC 2290, MXR Delay System II, and many others. Instead, it used a metal recording wheel. That came from an old trick I'd been using, which is having a DDL in triplet time to the actual beat. The settings Gilmour uses usually create a minimal effect, but his sompressors really helps to smooth out the tone and playing. 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. 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): Let's see some of the units he used over time. Listen to some of the 5.1 live tracks separately and you can clearly hear this. Set up your preferred delay settings and beam that into your pedal. 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. To figure a 4/4 delay time to work with any 3/4 triplet delay time, you can split the 3/4 time delay into thirds. The IC-100 tremolo was set to maximum depth and the trem speed was set so there are two pulses for every delay repeat. 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. 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. He would do this for each chord change in the intro to Shine On You Crazy Diamond, effectively doing both the keyboard and guitar parts all by himself. 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. first solo: 450ms -- feedback: 4-5 repeats -- delay level: 20% -- delay type: analog 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. The primary reason is becasue the delay time is usually set in time with the tempo of the song, so each repeat lands on the beat. When using both the mono and stereo outputs together (each running to a separate amp) the DD-2 produces a very defined stereo field, with one channel being the dry signal only, and one being the delayed signal only. I use several of the Program Select positions for various other things, but for Gilmour it's usually just position 1, 4, and 3. 310ms -- feedback: 3-4 repeats 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. It's fun to just jam around using the unique delay rhythm it creates. It's a beautiful sound, but David did not use tape delays like this. 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. DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. 630ms: feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital, Sorrow Solo - Pulse version (TC 2290 Digital Delay): Delay times vary by song but anything between 300mms and 600 makes a decent one size fits all. Run Like Hell with 380ms and 507ms delay in series - first is 380ms delay in the left channel, then 380ms+507ms in the right channel. Listening to the trails specifically, something a little darker like a DM-2 would do it. He began using digital delays in place of the Echorec around 1977. On the one hand, finally cracking one of my favourite guitar player's [] Run Like Hell with 380ms and 507ms delay in series. Other common delay times were 380, 440-450, 480, and 540ms. delay 2: 375ms, Run Like Hell - two guitars multi-tracked (delay used was likely the MXR M113 Digital Delay): Copyright 2023 Killer Guitar Rigs. This is actually not quarter-note triplets. For the modulation, I use an old green 18v Electric Mistress or a 1980s era Deluxe Electric Mistress in the big box. 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. solo: 500ms, High Hopes - live versions Dec 23, 2015. Head 1 = 75ms .Head 1 = 95ms. The SDE 3000 was set for a 1500ms delay, giving approximately 20-30 seconds of regenrated delay repeats. 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. 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. 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. This was most likely a reel-to reel recorder set up for a tape-loop delay. delay 1 time (main delay): 380ms -- feedback 8-10 repeats - delay level: 95% -- delay type: digital The S-O-S unit was basically a buffered interface with two send/returns. The amp David used for the RLH studio recording is not known, but presumably it was a Hiwatt or Mesa Boogie Mark I. La guida un lavoro in continua evoluzione ed in continuo aggiornamento. Below are a few of the rare examples of David using the Echorec in multi-head mode from 1973 and 1975. Below are some specific Gilmour settings I use. A good chorus like the Boss CE-2 or CE-5 can also be used in place of the flanger. In live performances he usually used playback Head 4 for the maximum delay time of around 300ms. Last update September 2022. When playing alone, I find I often turn the delay volume down, but with a band or backing track I turn it up. I turn each effect on one at a time so you can hear how they add to the tone. Sort of a triplet on top of a triplet time delay. To truly delve into David Gilmour's sound, you'd need to do a lot of research and buy a lot of vintage gear. A 300ms and 380ms delay had the heads repeating in these specific delay times. second solo: 500ms - feedback: 3-4 repeats -- delay level: 15% -- delay type: analog, Shine On You Crazy Diamond I-V Syds theme - 2016/15 Live version: Note that David Gilmour varied his settings. As the song plays on I dial the delay volume and number of repeats higher and higher. Multiply that x3 to get the 3/4 time and you get 427.5. 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. David could play a chord while the delay rhythm repeated, and jump back to the delay rhythm before the repeats stopped, almost as if there were two guitars playing. Even better is to run the delays parallel so one delay does not repeat the other, which sometimes sound messy. 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. Some duplicate the studio album delay times and some duplicate the live delay times. It covers all of the various ways he used echo - standard 3-4 repeat echo to make the guitar sound like it is in a large hall, using a slide like a violin with long delay repeats, slapback echo, swell mode, long repeats almost to the point of self oscillation, and what David calls "triplet" time, where he plays in time with the dotted eighth repeats. : Theyre so famous they sell for a very high price and are deemed a collectable for many. - Phil Taylor, David's backline tech. Solo: TC 2290 Digital Delay: 430ms, Time - Delicate Sound of Thunder version (TC 2290 Digital Delay) : If you look at head 4 as 4/4 time, the others would break down like this: Head 4 = 4/4 Last update September 2022. Gilmour's Binson Echorec 2 model T7E from 1970-71. Just get any old delay pedal, analog or digital, and set the time slow. solo: 680ms -- feedback: 1 repeat - delay level: 30% -- delay type: digital. alternate: 380ms, High Hopes - 2015/16 live version: 360ms -- feedback: 8 repeats -- delay level 100% -- delay type: digital, Great Gig in the Sky - live version David's Echoes delay time of 300ms, one for the delay in Time, and 423ms in the display. Below is a breakdown of how to play this effect. Brian Eno did something similar later in the early-mid '1970s with his famous reel-to-reel frippertronics tape delay effect. With regards to the actual sound of the echo repeats, there are essentially two types of delays - analog and digital. third (dry) solo: simulate studio ADT with a 40-50-ms slapback delay -- feedback: 1 repeat 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. A bit of delay can smooth out the unpleasant, raw frequencies you get from a fuzz box. Basically anything prior to 1977 is 300-310ms, which is the best delay time for the Echorec IMO, and Program position 1 is the standard for most DG solos from the Echorec period, equivalent to Switch Position 4/Head 4 on a real Echorec. In some of the studio recordings you are hearing the guitar delay and room sound or studio reverb, not just delay. 147ms (2X the delay repeats), or 2 pulses for every delay repeat. There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment. It also had a similar Sweep section to create chorus and flange effects, but every photo I can find showing this rack delay in David's live rigs shows the sweep knobs set to zero. Below is an example from 2016 of David Gilmour using three delays to simulate the Echorec sound in Time. 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 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. These are 5 note scales, pretty much the simplest scale a guitarist could use. 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. Time intro test with backing track - 470ms and 94ms. This is something us Gilmour fans have sought to recreate in our own playing. RLH Intro live 1984 style - Boss CS3 compressor, Tube Driver, Boss CE3 chorus, Two Boss DD-2 delays, into a Twin Reverb. Program Position 5 is equivalent to Switch Position 7 on the real Echorec, which is Head 4 + Head 3. 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. - Delay Rhythm Guitars Mixed Up Front - both channels. #4. One of the ways to do that, is by using your effects creatively, just as he does. Its a famous echo unit used by many artists, and useful for varying instruments. slide solo: 550ms -- feedback: 4-5 repeats He has used this type of setup in his 1987-89 rig, his 1994 rig, and in his 2006 On An Island tour rig. I use the MXR Digital Delay. Members; 529 Members; Share; Posted December 21, 2005. Posted December 21, 2005. porsch8. If the repeats are faster than the tempo, increase the delay time. You might be tempted to make it ear piercingly loud, but trust me on this, a little goes a long way, especially when playing with other people. 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. - David Gilmour, Guitar World magazine. 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. This is probably spring reverb from David's Twin Reverb. For his 2015 tour he used a Providence Chrono Delay and two Flight Time delays. The best representation of this is a 340ms delay set for 3-4 repeats, On An Island: When you have a drum and bass note landing at the same time it somewhat masks the repeat. FINDING THE "TRIPLET" TIME DELAY FOR A SONG - David has sometimes used a rhythmic 3/4 time delay, what he calls "triplet" time. The tremolo is from an HH IC-100 amp was used for the studio recording. Shown below are my Boss delay time settings to replicate the Run Like Hell band demo recording sound. delay time for both solos: 465ms or 480ms - feedback: 15-20% -- delay level: 20% (30-35% for waving part) -- delay type: digital, Comfortably Numb - Pulse version and most Division Bell tour performances: Delay volume 65% Brian May (of Queen) did the same effect a few years later on Brighton Rock and Son and Daughter using his modified Echoplexes. Breathe Intro Using One Delay - One 440ms delay with 4-5 repeats also works well. 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). The slide parts were made up of several multi tracked recordings, each playing slightly different, but similar phrases. 2,434. solos: 300ms -- feedback: 3-4 repeats - delay level: 15% -- delay type: analog 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. Use the feedback option to set it right where you think it sounds closest. Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. When you play across it, it helps you to double-track yourself. I use a compressor or a Tube Driver for this. The simplest option is to use an online Beats Per Minute caculator, like, - David from Guitar Player Magazine, November 1984, I have a bunch of pedals - 4 DDL's - which I use in different combinations, MXR Digitals and the little Boss DD2'sI usually have one DDL with a short single slap on it. 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 . 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). 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. There are many effect pedals that simulate those sounds, and those types of simulated reverbs are also usually called plate, room, or hall reverb. chords / arpeggios: 480ms 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. 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. second solo: 640ms -- feedback: 6-7 repeats David maintained his Echorecs well and replaced them often however, so his sound only had minimal high end roll-off in the repeats. 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 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. 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. alternate 2nd Solo: 540ms David was very much in control of his sound system We rarely added effects to his guitar in the control room. Although it is not often that this roll-off effect was heard in David's use of the Echorec, you can clearly hear it in the echo repeats in the very beginning of the song One of These Days from Pink Floyd's Meddle album in 1971. outro: 340ms -- feedback: 3-4 repeats, Shine On You Crazy Diamond I-V (Binson Echorec): 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. This creates a different bouncy feel to the delay rhythm. From the 1972-74 period he used the PB first in line in the signal chain for his live rigs. 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. Echorec head 4 = 312ms / Echorec head 1 - 78ms That keeps you from getting a loud, double-tappy mess. 650-680ms were occasionally used for long delays. HH IC-100 amplifier with built in tremolo. third solo (after dry solo): 380ms -- feedback: 2-3 repeats. 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. 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. 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. 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. SHINE ON YOU CRAZY DIAMOND 1-5 settings. Although it is simple to play, you must play exactly in time with the delay or it will sound sloppy. The MXR 113 was released in 1976 and David first used it for Pink Floyd's Animals tour in 1977. Anyone got some David Gilmour delay settings Anyone got some David Gilmour delay settings. Great Gig Slide Guitar Breakdown. Money solos - live 1977 version (MXR Digital Delay System I): 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. 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. Multiply that number by 75% to get the triplet time delay. buildup and arpeggio delay time: 300ms -- feedback: 7-8 repeats - delay level: 40% -- delay type: analog, Echoes - live Gdansk Version: 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. Time intro - Isolated guitar from studio mix. solos: 540ms, What Do you Want From Me? moderate reverb, probably from the plate reverbs at Abbey Road studios. In this clip I'm using Coming Back to Life as a reference with 700ms. Here is a clip of a single 330ms delay playing the Blue Light riff. He used both in his 1980s live rigs, and continued to use the MXR System II up until 2016. Check here for more Big Muffs to achieve the Gilmour tone. His delay times are slightly faster here. The Boss LS-2 Line Selector, Xotic Effects X-Blender, Lehle Parallel, and Badger Schism are a few that do the job. Find the proper delay time for the song as described above, then let's do some "Echorec math". Some duplicate the studio album delay times and some duplicate the live delay times. 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. volume swells in lords prayer section: 340ms -- feedback: 8-9 repeats The tempo used in this demo is slightly too. 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. David also used the triplet delay setup on many other songs such as One of These Days from Pink Floyd's Meddle, Give Blood from Pete Townshend's White City, Blue Light from David's second solo album, About Face, The Hero's Return from Pink Floyd's The Final Cut, among others. Fat Old Sun- 2015/16 live version: David probably just uses the term triplet because what he does has a similar feel. Echorec Style Delay Jamming - 428ms and 570ms. Play the note, let it repeat, then play the note a second time where the 1400ms repeat would be. There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. The delay was such an integral part of their sound, then almost any Pink Floyd song wouldnt sound complete without Davids signature delay sounds. Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. delay 1 time: 430ms -- feedback: 5-7 repeats - delay level: 30% -- delay type: warm digital Unfortunately the Catalinbread Swell control cannot be set as high as it needs to be for the Time intro, but it gets close. The early Boss DD-3 pedal had exactly the same circuit as the DD-2. Reverb was also added at the mixing desk when recording or mixing. For most of his 2016 tour he used multiple delays for those parts, but switched to using a Boonar Multi-Head Drum Echo digital delay from Dawner Prince Electronics for the last few 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. 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. David Gilmour was the guitarist for English rock band Pink Floyd. RUN LIKE HELL - This is one of the standout tracks from Pink Floyd's The Wall double album, with music written by David Gilmour. first solo: 310ms -- feedback: 2-3 repeats. It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. I use chorus, little delay and some reverb on my amps clean setting. verse / chorus: 435ms, Wearing the Inside Out: Make David Gilmour's Shimmering Sustained Delay in Live. Bass: 12 o'clock Mid: 1 o'clock Treble: 11 o'clock Delay: Time: 484 ms Mix: 40% Level: 75% Feedback: 50% Only about one audible repeat fading very quickly after that Reverb: Medium Room Time: 2.20 sec EQ: High Cut 4000Hz Level: 75% Mix: 50% Input Gain: 100%. David used various Echorec models but he was most known for using the Echorec 2 model T7E. Volume 85% In four beats you will hear 5 repeats (including the pick), and and that fifth repeat will time right on the fourth beat. - David from Guitar Player Magazine, November 1984, I have a bunch of pedals - 4 DDL's - which I use in different combinations, MXR Digitals and the little Boss DD2'sI usually have one DDL with a short single slap on it. Run Like Hell with 380ms and 254ms delays in series. solo: 560ms He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. 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. You just tap along to the song tempo with your keyboard and it calculates the BPM tempo for you. The first delay is set to 570ms, which is the 4/4 time, and the second is set to 428ms, which is the 3/4 time. 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. Some duplicate the studio album delay times and some duplicate the live delay times. Then go to a website with a Delay Time Calculator, like the one on this page. Here are what the settings mean -. slide guitar solos: 300ms, One Of These Days - 2015/16 live version: To add space to your tone, add a clean digital delay at the end of your signal chain. One set for a slighly shorter delay time, and a lower echo repeat volume, running into a longer delay with a slightly louder echo repeat will give you a very smooth sound. To avoid this, and to keep the dry signal more pure, the delays in David's live rigs have sometimes been split off and run parallel with the dry signal, then mixed back together before going to the amp. fourth solo: 40-50-ms slapback delay -- feedback: 1 repeat, Echoes 614ms -- feedback: 6-7 repeats, Rattle That Lock: His tone is instantly recognizable and unique. 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. An examination of the individual tracks from some of the 5.1 surround sound studio album releases reveals both were used. How to you get the proper 3/4 delay time from that 4/4 time? 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. - David Gilmour, Guitar World magazine. delay 1 time: 90ms verse, solos: 450ms, Learning To Fly - Pulse version: WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? 2nd delay 375ms. ..delay #2 MXR Digital Delay System II (switched on at start of unison bends when mirror ball opens): 720ms One of These Days - gated tremolo section isolated. Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. You could nail his famous sound with a handful of pedals, though, which makes it that much more achievable. - Pulse version (TC 2290 Digital Delay): If you want this sound and have a delay that shows the time in milliseconds, follow these steps. solo: 430ms -- feedback: 7-8 repeats - delay level: 20% -- delay type: digital, Time - 2016/15 live version: Below are settings to get that sound. I the clips below I play the 470ms delay first, then the 94ms delay, then both in series together. studio album solo: 275ms solos: 375ms. His final delay was the TC Electronic 2290. The Free the Tone Ambi Space pedal is my favorite device for this. Using two delays to simulate the multi head Echorec effect - 470ms and 352ms. 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.
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