It makes for a sound that really adds depth to the guitar tone in the mix, but is not cluttered by delay repeats. In live performances he usually used playback Head 4 for the maximum delay time of around 300ms. The second is around 94ms, which is 1/5 of 470 (470/5=94). Note or mark that time setting on your delay. slide guitar solos: 300ms, One Of These Days - 2015/16 live version: Note that David Gilmour varied his settings. chords / arpeggios: 480ms 650ms delay first, with 2 repeats, and 1400ms delay second with 1 repeat. 1st delay 500ms. second solo: 490ms, What Do you Want From Me? Reverb was also added at the mixing desk when recording or mixing. Its not a cheap pedal (around 250$ new), but its way cheaper than an original. The MXR 113 was released in 1976 and David first used it for Pink Floyd's Animals tour in 1977. This way the echo repeat from one delay is not repeating the echo repeat of the other, and the original guitar signal is kept pristine rather than altered by going through two different delays. Solo: 440ms ? second solo: 660ms -- feedback: 5 repeats, Comfortably Numb - 2015/16 RTL Tour: Another option is to run two delay pedals simultaneously. Kits Secret Guitar, Gear, and Music Page First is the delay, then the square wave tremolo, then both together. In this example I am showing how just using a single triplet 330ms delay is sufficient for this effect, but a second 4/4 feeling delay of 440ms or even a double triplet delay time to 660ms, could be added to enhance the space. The repeats had a warm high end roll off, similar to David's Binson Echorecs. solo: 430ms -- feedback: 7-8 repeats - delay level: 20% -- delay type: digital, Time - 2016/15 live version: Delay volume 90%. There are a few occasions where I have heard spring reverb in a Gilmour recording, but it is very rare. Speaking from personal experience, furthering my understanding of tone has simultaneously been one of the most rewarding and frustrating experiences of my life. Below is a song-by-song list of delay times with some settings. Use the feedback option to set it right where you think it sounds closest. David was very much in control of his sound system We rarely added effects to his guitar in the control room. The first send went to a volume pedal. This is the primary delay time you hear in the song. Sometimes he even uses two delays at once to create certain double tapped echo effects or to make a solo sound bigger. 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. extended version solo: 430ms, Rattle That Lock - 2016/15 Live version: 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. Pink Floyd is deemed as one the all-time best bands to ever exist on this planet. CATALINBREAD ECHOREC - One of my favorite simple Echorec style delays is the Catalinbread Echorec. Money solos - live 1977 version (MXR Digital Delay System I): 147ms (2X the delay repeats), or 2 pulses for every delay repeat. DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. 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. Both in the studio and live their musicality seeps from every note, every rest, and every beat. 2nd delay 375ms. Because the notes all intertwine, it doesn't matter anyway, but I find that I usually set them on a triplet. - David has used numerous types of delays in his carreer, both analog and digital. This gives the impression of a 920-930ms delay. 560ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Solo - Strat Pack version: David maintained his Echorecs well and replaced them often however, so his sound only had minimal high end roll-off in 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 often has a big, watery delay tone, as if he were playing in a large hall, but the actual audible echo repeats in his solos are almost absent in many cases. studio . I list a number when I can clearly hear them, otherwise 4-5 repeats is usually close. delay 1: 250ms The Boss LS-2 Line Selector, Xotic Effects X-Blender, Lehle Parallel, and Badger Schism are a few that do the job. That equates to 428ms, which we will call the 4/4 time. His most commonly used delay times were in the 294-310ms range and 430ms. David used his Workmate Esquire guitar for the studio recording, and usually used a Telecaster when playing it live. For example, 380ms is your triplet time. This setup can also be used for songs like On the Turning Away and Sorrow.--------------------------Signal chain:Guitar - Fender Stratocaster, with D Allen Voodoo 69 neck and middle pickups and Seymour Duncan SSL5 bridge pickupAmp - Reeves Custom 50, Laney LT212 cabinet with Celestion V30 speakersMic - Sennheiser e906Follow Gilmourish.Com here:http://www.gilmourish.comhttps://www.facebook.com/pages/Gilmouhttp://www.bjornriis.com #4. studio album solo: 275ms 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. 520ms -- feedback: 5-6 repeats - delay level: 20% -- delay type: analog, Money solos- Pulse version (TC2290 Digital Delay): Let's see some of the units he used over time. His signature sound is a combination of mellow overdrive and clean tones, awash in combinations of delay, compression, phase, chorus and reverb. The Effect Level (volume) and Feedback (number of repeats) will vary. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. Many of the sound effects youll hear on the earlier albums were created with this machine. This unit can also be heard on the The Wall album. Run Like Hell Demo Instrumental - excerpt from The Wall demos, Run Like Hell - extended intro from the long version of the original studio recording - one guitar in L channel and one in the R. Run Like Hell R channel - same as above, but just the R channel so you can hear just a single guitar playing the riff. 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). verse, solos: 450ms, Learning To Fly - Pulse version: Digital delays are cleaner and sharper sounding, more like an exact repeat of the original dry sound. Pink Floyd's "Shine On You Crazy Diamond" is a classic, thanks in large part to David Gilmour's otherworldly guitar playing. 3rd solo: delay 1 = 240ms / delay 2 = 435ms, Mother solo - 1980-81 live version: Then I have two regular Boss units (DD2) which I set so one works in a triplet and the other in a 4/4 time - they're actually set in time with each other, so they combine and make a nice sound. Assume a 100% delay level means the delay repeat volume is exactly the same as the original signal volume, so the dry signal and the delay repeats will be exactly the same loudness. On the one hand, finally cracking one of my favourite guitar player's [] 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. . It is a great example of what David calls "triplet time" delay playing, which is actually dotted eighth notes. 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 . Gilmour delay: '60s-'70s: Binson Echorec II. 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. volume swells in lords prayer section: 340ms -- feedback: 8-9 repeats Shown below are some typical Gilmour DD-2 delay times. Head 1 = 1/4. Fine tune it until you hear the repeats are exactly in sync with the song tempo. I have two units, and I have different echo settings on both. 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. Record yourself playing alone verses playing along with a backing track to see what I mean. VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net. 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. The tremolo is from an HH IC-100 amp was used for the studio recording. solo: 580ms, A Great Day For Freedom - Pulse version (TC2290 Digital Delay): - 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. A few of David Gilmour's vintage Binson Echorec 2 model T7E delays. Listening to the trails specifically, something a little darker like a DM-2 would do it. 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. solo: 500ms, High Hopes - live versions Great, lets get started. Some are actually too high quality for my personal taste. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. This was most likely a reel-to reel recorder set up for a tape-loop delay. Last update September 2022. David's Echoes delay time of 300ms, one for the delay in Time, and 423ms in the display. - David Gilmour. A single delay set at 1400ms with 3 repeats has a similar feel as well. a`Its very reliable, just like the MXR, but its much more versatile and teachable. So why don't you hear the repeats most of the time? 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 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. REVERB OR NO REVERB ? You can also play in time with the delays in a kind of shuffle rhythm. 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. 380ms -- feedback: 3-4 repeats, On The Turning Away - 1991 live Amnesty International Big 3 O version: 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. 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. 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. Below is an example of me using an Echorec style delay in a cover of Pink Floyd's 1969 song Dramatic Theme form the More album. The long delay, and multi tracked guitars add to the smooth, lquid feel of the notes. The reverb could have been added in the mixing stage, or it could be natural room reverb from mics positioned in the recording studio to capture the natural room sound. 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. RLH Intro live 1984 style - Boss CS3 compressor, Tube Driver, Boss CE3 chorus, Two Boss DD-2 delays, into a Twin Reverb. 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. I change my echo settings fairly often in concert. 20K views 9 years ago My Delay settings for Run Like Hell as played by David Gilmour, Pink Floyd. 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): The motor had a fixed speed so one turn of the drum equated to approximately a 300ms delay, but that could vary slightly depending on mains voltage, and volatage fluctuations. As an Amazon Associate, we earn from qualifying purchases. The trick is not to overdo it. 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. solos: 540ms, What Do you Want From Me? 530ms -- feedback: 4-5 repeats, Coming Back To Life: solo: 475ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Hey You - Pulse version (TC 2290 Digital Delay): There are several parallel looper pedals that can be used for the actual "looping" part of the setup. 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. Treble: 4-5. The shorter delay fills in the gaps between the longer delay repeats, creating a smooth delay sound, but the delay time on both makes the repeats fall inline with the song tempo. Both delays are in series with the delay volume around 75% and about 9 repeats. It had a maximum 16kHz bandwidth up to 800ms, with a maximum delay time of 1600ms, expandable to 3200ms. It features two separate bass guitar tracks played in time with a single head delay (head 4) from the Echorec. Here are what the settings mean -. David almost always uses delays in his live rigs, not reverbs. USING TWO DELAYS TO MIMIC AN ECHOREC - David stopped using the Echorec live after 1977. My sound has everything to do with what sounds good to me. During the tour a T-Rex Replica was added specifically to use for "Echoes". It is said that he switched from an Echorec to an MXR for ease of use. second solo: 460ms -- feedback: 5-7 repeats, Dogs: delay 2 time (second delay ADT effect): 80ms -- feedback 2-3 repeats - delay level: 30% -- delay type: digital, Sheep - 1977 live version: Alternately, you can use 380ms as the long delay and 285ms as the short time delay, equivalent to Head 3 and Head 4 on the PE 603 Echorec, but that creates a slightly different delay rhythm than the album sound. When he began using digital delays in 1977 he started to use longer delay times and specific times to rhythmically work with the song tempos. 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 times vary by song but anything between 300mms and 600 makes a decent one size fits all. 5 Pedals or Less: How to Sound Like Dave Gilmour Back at it again, the hunt for tone never ends. 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. The first delay is definitely set to 470ms, which is the 4/4 time. Program Position 3 is equivalent to Switch Position 6 on the real Echorec, which is Head 3 + Head 2. 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. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. I go a little in-depth for all three of them, and Ill give some tips on how you can emulate his sound. 570 x 75% = 427.5. I'll keep this simple rather than going into an explanation of time signatures. Although it is simple to play, you must play exactly in time with the delay or it will sound sloppy. Often during the live songs that do have very loud delays, you do hear the repeats clearly. Gilmour used the TC Electronic 2290, but any digital delay will do. first solo: 340ms -- feedback: 3-4 repeats This unit is an incredibly versatile digital delay that many artists use. 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. For example, take 450ms divided by 3 = 150ms. 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. 2nd delay 570ms. 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. 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! - David Gilmour from Guitar for the Practicing Musician, 1985. 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. I think what makes the solo stand out is that it is dead on the beat which isn't as typical for Gilmour. It also stems from the fact that people tend to look at things with their wallets, and analog gear is often much more expensive than its digital counterpart. 540ms, Take A Breath: solo: 540ms, Poles Apart - Pulse version (TC 2290 Digital 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. These three separate channels are blended back together with the original dry signal at the end of the signal chain. Shown below are some typical Gilmour DD-2 delay times. 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. Solo: 300ms. intro: But the delay was in 3/4 increments of the beat and the vibrato went with the beat. 440ms -- feedback: 4-5 repeats, No More Lonely Nights: Solo: 430ms, Fat Old Sun- 1971/72 live versions: There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment. All these effects can be heard in most of Pink Floyds discography. Great Gig Slide Guitar Breakdown. 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. It's all on a D pedal. delay time to simulate offset multi track recordings: 930ms -- feedback: 4-5 repeats -- delay level: 30-35% -- delay type: analog, Breathe - Pulse version (TC2290 Digital Delay): The delays are set in series like this: 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. You can also get something similar with one 650ms delay set for 2 repeats. I set the vibrato to more or less the same tempo as the delay. 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. Note that I am not talking about spring or amp reverb, or a reverb pedal, which is a completely different sound. If you adjust the delay time in that in-between zone while listening to the song, you will hear when it is right in 3/4 time. 500ms -- feedback: 5-6 repeats. Kits Secret Guitar, Gear, and Music Page All of the settings for this tone can be found in this PDF download below. In this video I'm demonstrating how to set up your David Gilmour delay sounds and settings. The first Money solo, for example, sounds like it is awash in spring reverb. 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. The Free the Tone Ambi Space pedal is my favorite device for this. The second send went to a Roland SDE 3000 digital delay in his rack, with individual level controls for both the send and return, along with a mute switch. outro solo : delay 1 = 1000ms -- feedback: 1 repeat / delay 2 = 720ms -- feedback: 3-4 repeats, Take A Breath 2006 live versions: 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). Using Program position 3 for that part also works. All those divisions and subdivisions will be in time with the song. Even better is to run the delays parallel so one delay does not repeat the other, which sometimes sound messy. When you have a drum and bass note landing at the same time it somewhat masks the repeat. That's another one of the personal esthetic judgments that you use in trying to get something to sound nice to yourself. 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. Head 3 = 225ms (or 75ms x3) ..Head 3 = 285ms (or 95ms x 3) Alt. That keeps you from getting a loud, double-tappy mess. La guida un lavoro in continua evoluzione ed in continuo aggiornamento. In the studio recording I hear one guitar playing the single note triplet time rhythm, a second guitar playing the fills, and a third guitar playing occasional accents on top of the fills. delay 2: 430ms, In Any Tongue - 2015/16 live version: middle section: 1500ms -- feedback: 10-12 repeats First you hear a single muted note picked with a 294ms delay set for 7 repeats (played twice). It's a sort of melodic delay to use. In 2006 the dry signal split off at the end of his pedal board signal chain into two separate loops, each going to a separate delay. I use the MXR with the read-out on it, so I instantly have the right tempo. Feedback: This is the number of audible repeats. It is impossible to achieve the exact same tone as a player without using the same equipment. I the clips below I play the 470ms delay first, then the 94ms delay, then both in series together. solo: 530ms -- feedback: 5-6 repeats, 5 A.M. 2015/2016 live version: Below is my best guess at the delay times David used there. Also, two delays in line, while useful for some double tap delay effects, means that the repeats from the first delay are then repeated again by the second when both are used at the same time, which can sometimes create a mushy mess of repeats. The 3/4 "triplet" time will be inbetween in between these 4/4 and 2/4 settings on your delay. 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. 520ms -- feedback: 4-5 repeats, Obscured by Clouds: The repeats are bright and shimmery but not brighter than the original signal. Alans Psychadelic Breakfast with 2.2 second tape delay_Oct 1970. A large part of that comes from Davids use of delay. Copyright Kit Rae. You can also do the volume swells with the guitar volume knob, although it is much easier with a volume pedal. David probably just uses the term triplet because what he does has a similar feel. If you are playing at home on your amp with delay, the delay sound will be much more apparent than when you are playing with a full band, where the delay repeats will blend in the band mix much better. Depending on your second delay EQ, you may need to experiment with the number of repeats and repeat volume. I have occasionally used spring reverb from an amplifier, but set very low so there is just a hint of that sound. Shorter delay times are more obvious because the repeats are heard in between notes and phrases. FINDING THE "TRIPLET" TIME DELAY FOR A SONG - David has sometimes used a rhythmic 3/4 time delay, what he calls "triplet" time. When he began using digital delays in 1977 he started to use longer delay times and specific times to rhythmically work with the song tempos. 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. David often uses long echo delays to help create a his big, smooth, and liquidy solo tones. intro slide guitar: 1023ms 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. Set it to about 370 milliseconds, mix it low, and set the repeats to about 3-4 times. Gilmour uses this type of delay setting on several songs in the Pink Floyd catalog, most famously in "Run Like Hell." Here is the tab for Another Brick In The Wall pt. Posted December 21, 2005. porsch8. - David Gilmour, Guitar World magazine. 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. delay 1: 380ms -- feedback 10-12 repeats - delay level: 95% -- delay type: digital Note that reverb from a pedal in a guitar signal chain before the amp can never sound exactly the same as reverb added to recording at the mixing desk, or mixed in later after the recording has been made.
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