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Unless otherwise noted, all delay times are shown in quarter notes This creates a different bouncy feel to the delay rhythm. Reverb was also added at the mixing desk when recording or mixing. 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. For the modulation, I use an old green 18v Electric Mistress or a 1980s era Deluxe Electric Mistress in the big box. slide solo: 550ms -- feedback: 7-8 repeats 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. It was surrounded by a record head and four playback heads that gave it a wide range of double-tapped delay sounds. 614ms -- feedback: 6-7 repeats, Rattle That Lock: solos: 660ms -- feedback: 6-7 repeats, Time: That equates to 250 - 240ms. middle section: 1500ms -- feedback: 10-12 repeats . DAVID GILMOUR DELAY TIME LIBRARY - Song by Song. delay 2 time (second delay ADT effect): 80ms -- feedback 2-3 repeats - delay level: 30% -- delay type: digital, Sheep - 1977 live version: As an Amazon Associate, we earn from qualifying purchases. 2nd delay 375ms. Sometimes he even uses two delays at once to create certain double tapped echo effects or to make a solo sound bigger. The delay used must have a "kill dry" or "dry defeat" mode, which means ONLY the 100% wet delay signal is sent to the output of the delay, none of the dry signal. Some are actually too high quality for my personal taste. Below is an isolated excerpt of this part. For Run Like Hell, David's using what he refers to as "triplets".. The Echorec was an old school mechanical delay that utilized a spinning drum disk wrapped in magnetic recording wire rather than magnetic tape. It is a great example of what David calls "triplet time" delay playing, which is actually dotted eighth notes. 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. He notoriously used a Binson Echorec for his delays, and many other vintage pedals and studio outboard gear to achieve his tone. - parallel delays, 380ms (both channels) and 507ms (right channel only), going to separate amps, David would play a chord, raise the volume pedal to send the signal into the SDE 3000, then lower the volume back to to zero to kill the input signal. 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. Multiply that number by 75% to get the triplet time delay. Digital Delays tend to be avoided by many guitarists, but the belief that analog is always better than digital stems from when digital gear wasnt very good. Other common delay times were 380, 440-450, 480, and 540ms. I have split the 5.1 stem channels apart from the surround sound mixes of all of the Pink Floyd and Gilmour's solo albums to hear the individual elements. The main rhythm guitar, chords, and fills are all double tracked. R channel -- 1400ms with two 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. HH IC-100 amplifier with built in tremolo. I turn each effect on one at a time so you can hear how they add to the tone. 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. first solo: 507ms -- feedback: 2-3 repeats HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? Later versions of the DD-3 have different circuits. - Pulse version (TC 2290 Digital Delay): This website is frequently updated. The most recognisable and somewhat stereotypical sound that Pink Floyd uses is their ambience. One is added before the signal hits the amplifier and speakers, so the reverb itself is amplified and prcessed by the amplifier circuitry. 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. The tempo used in this demo is slightly too. 530ms -- feedback: 4-5 repeats, Coming Back To Life: (requires a volume pedal before the delay in signal chain to create the volume swells), Castellorizon: The Binson Echorec is an analogue echo unit made by Binson in Italy. You could nail his famous sound with a handful of pedals, though, which makes it that much more achievable. delay time: 450ms -- feedback: 7-8 repeats -- delay level: 25% -- delay type: analog/digital mix, Another Brick in the Wall Part II (live): It is meant to simulate the sound of old analog tape delays as they aged. David almost always uses delays in his live rigs, not reverbs. If you have a clean amp, some settings to start with would be: Gain: 3 Treble: 7 Mids: 7 Bass: 6 Reverb: 5-6 delay 2: 275-290ms -- feedback: 5-7 repeats - delay level: 25% -- delay type: analog, Short and Sweet - David Gilmour live 1984 version (Boss DD-2): outro: 340ms -- feedback: 3-4 repeats, Shine On You Crazy Diamond I-V (Binson Echorec): Using Program position 3 for that part also works. The other delay is set in 4/4 time (quarter notes) at 507ms, or one repeat on every beat. analog gear was not as good as digital at the time, so the belief that analog is always better than digital arose. Its not a cheap pedal (around 250$ new), but its way cheaper than an original. -, David Gilmour interview by Bob Hewitt from Guitarist, June 1986, FINDING THE "TRIPLET" TIME DELAY FOR A SONG. Tweaking the delay time was simply more tweakable on the MXR Digital Delay. David Gilmour is famous for his unique use of delay and echo. I the clips below I play the 470ms delay first, then the 94ms delay, then both in series together. 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. It is said that he switched from an Echorec to an MXR for ease of use. bass guitar rhythm delay (two bass guitars): 294ms, 7-8 repeats - Be sure to read the section above. 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). Using two delays to simulate the multi head Echorec effect - 470ms and 352ms. I'll keep this simple rather than going into an explanation of time signatures. Each was set to 380ms, 7-8 repeats, with the delay volume almost equal to the signal volume. You can simulate the amp tremolo with just about any tremolo pedal or tremolo amp with a square wave shape. In this video I'm demonstrating how to set up your David Gilmour delay sounds and settings. Pink Floyd's "Shine On You Crazy Diamond" is a classic, thanks in large part to David Gilmour's otherworldly guitar playing. The delay time and your playing must be precisely in time with the song tempo, so it takes some practice to perfect this style of playing. It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. The S-O-S rig allowed him to play sustained chords on the guitar which he could then play melody on top of. solo: 430ms -- feedback: 7-8 repeats - delay level: 20% -- delay type: digital, Time - 2016/15 live version: It was strange because it didn't utilize tape loops. Below is an example of the Syd's Theme section of Shine on You Crazy Diamond from Pink Floyd's 1994 tour. Great Gig Slide Guitar Breakdown. For David's 2006 rig one output from his Mk 2 Cornish-built pedalboard went to his main Hiwatt amp and 4x12 speaker cabinets. David used various Echorec models but he was most known for using the Echorec 2 model T7E. HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? Andrew Bell has 42 posts and counting. Multiply that x3 to get the 3/4 time and you get 427.5. David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. All of the settings for this tone can be found in this PDF download below. - David Gilmour. third solo (after dry solo): 380ms -- feedback: 2-3 repeats. 240ms and 165ms actually sound more like David's delay times, but there are other times that have the same feel. 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. . The clip below is played with those same 428ms and 570ms delay times. 2. 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). By porsch8 December 21, 2005 in Effects and Processors. 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. If your delay does not have a dry defeat feature, it is pointless to use in a parallel setup. Any delay with a 100% wet signal output can be set up in a parallel signal chain to do this. One of These Days - 294ms delay + vibratto. Listen to some of the 5.1 live tracks separately and you can clearly hear this. First is the delay, then the square wave tremolo, then both together. 3rd solo: delay 1 = 240ms / delay 2 = 435ms, Mother solo - 1980-81 live version: It is around 294ms on the studio recording. 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. 525ms, Sorrow Solo - 2016/15 live version: In the 80s and 90s David would mostly use digital rack models such as the TC Electronic 2290. 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. solo (Pulse): 490ms, Astronomy Domine - Pulse version (MXR Digital Delay System II for solo) 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. A single delay set at 1400ms with 3 repeats has a similar feel as well. - In general, no - but sometimes, yes. In this clip I'm using Coming Back to Life as a reference with 700ms. It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. second solo: 640ms -- feedback: 6-7 repeats volume swells in verse section after second solo: 540ms and 620ms -- feedback: 4-5 repeats 1st solo: 310ms Scales David Gilmour is a big proponent of the minor and major pentatonic scales. 380ms -- feedback: 3-4 repeats, On The Turning Away - 1991 live Amnesty International Big 3 O version: Note the controls show playback mode switch is in position 4, which is single playback Head 4, Gilmour's Binson Echorec 2 model T7E from 1970-71 with the playback mode switch in position 4, Gilmour's Binson Echorec 2 model T7E from 1972 and 1977 with the playback mode switch in position 1, which is singe playback Head 1, Various Echorec 2 settings seen in David's Medina studio from 2013, 2014, and 2017, The Echorec 2 in David's Medina studio from 2017. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. The volume swells can be easily created today with a delay and a volume pedal. : It's all on a D pedal. solo: 400ms, Raise My Rent: 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. Treble: 4-5. fills under second and fifth solos: 507ms -- feedback: 4-5 repeats intro: 630ms -- feedback: 4-5 repeats -- delay level: 17% -- delay type: analog Pink Floyd is deemed as one the all-time best bands to ever exist on this planet. 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. Its also easier for live situations as changes can be made on the fly. Use the feedback option to set it right where you think it sounds closest. 2nd delay 94ms. outro arpeggio riff: 310ms, Shine On You Crazy Diamond VI-IX (Binson Echorec): delay 1: 90ms The effect actually works fine with only two delays. David maintained his Echorecs well and replaced them often however, so his sound only had minimal high end roll-off in the repeats. 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. - David has used numerous types of delays in his carreer, both analog and digital. outro solo : 550ms -- feedback: 3-4 repeats, Take It Back: Regardless, it is the combination of both delay and reverb that makes the delay sound so smooth in some instances. 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. intro and verse volume swells, first solo: 480ms -- feedback: 6-7 repeats first solo: 310ms -- feedback: 2-3 repeats. Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. First you hear a single muted note picked with a 294ms delay set for 7 repeats (played twice). intro: 780ms, Coming Back To Life - Pulse version (MXR Digital Delay II and TC 2290 Digital Delay): I have a slight roll off of the high frequencies on the repeats to mimic the Echorec sound. David would use the latter setting for most of the album. On the extremely rare occasions that David did use mulitple heads it was usually position 7, which was Head 3 + Head 4, 225ms + 300ms. 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. 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. 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): second solo: 660ms -- feedback: 5 repeats, Comfortably Numb - 2015/16 RTL Tour: There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. 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): Some duplicate the studio album delay times and some duplicate the live delay times. What is interesting about this performance is that it is probably the only time David is known to have used a tape delay. I use the MXR Digital Delay. fourth solo: 40-50-ms slapback delay -- feedback: 1 repeat, Echoes 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. He has used this type of setup in his 1987-89 rig, his 1994 rig, and in his 2006 On An Island tour rig. intro: 440ms Verse / Chorus : TC 2290 Digital Delay: 430ms 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. slide violin intro: 300ms -- feedback: 8-9 repeats - delay level: 90-100% -- delay type: analog 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. How to you get the proper 3/4 delay time from that 4/4 time? 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. They want to play and sound just like the man himself. 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. Another interesting effect heard in the middle section of One of These Days is the use of that same "triplet" time delay along with a gated tremolo effect. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. In four beats you will hear 5 repeats (including the pick), and and that fifth repeat will time right on the fourth beat. delay 1: 250ms The Blue: Delay Time: Shown in milliseconds. The main rythm in the left and right channels of the studio recording is domantly the 3/4 time. Delay volume 90%. Electro-Harmonx has made a few small boxed versions of the Electric Mistress, but these have different circuits and sounds as the originals. intro: Set the 600ms dealy to half the repeats of the main delay, with a MUCH lower delay volume. 380 divided by 3 = 126.7ms. 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 TWO DELAYS - David has stated he used two delays, one in 3/4 time (dotted eighth notes) and one in 4/4 time (quarter notes). 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 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. If you have a subdivisions setting (quarter notes, eighth notes, dotted eighth notes, et cetera) set it to quarter notes, or the normal setting. It had a maximum 16kHz bandwidth up to 800ms, with a maximum delay time of 1600ms, expandable to 3200ms. Anyone got some David Gilmour delay settings Anyone got some David Gilmour delay settings. I am not talking about spring reverb from an amp. Check here for more Big Muffs to achieve the Gilmour tone. See all posts by Andrew Bell. There are times when I have both running at the same time for certain effects. 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. solo: 580ms, A Great Day For Freedom - Pulse version (TC2290 Digital Delay): DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. Program Position 5 is equivalent to Switch Position 7 on the real Echorec, which is Head 4 + Head 3. I use the Tremotron from Stone Deaf Effects for this. Pink Floyd is known for their use of soundscapes and textures that would later characterize genres such as progressive rock and psychedelic rock. I change my echo settings fairly often in concert. - Boss CS-2 and Dyncomp compressors first, then CE-2B chorus in left channel added, the delay added, then plate reverb added. 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. second solo: 490ms, What Do you Want From Me? He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. You could get some wonderful delay effects that aren't attainable on anything that's been made since. Read an explanation about how this is achieved here. There are a few occasions where I have heard spring reverb in a Gilmour recording, but it is very rare. Below is my best guess at the delay times David used there. Below is an example using two digital delays in series. Find the proper delay time for the song as described above, then let's do some "Echorec math". FINDING THE "TRIPLET" TIME DELAY FOR A SONG - David has sometimes used a rhythmic 3/4 time delay, what he calls "triplet" time. Generally speaking, the sound on the album is pretty much what came out of his amp. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. Its not rare to see Pink Floyd play 10-minute long solos over what can only be described as atmospheric playing from the band. 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. This the dominant delay, but there is also a 300ms delay low in the mix 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). intro: 425ms VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net, This website is frequently updated. Some delays allow you to dial the volume level of the repeat louder than the signal level, which usually means 100% is when the knob is set to 12 o'clock. 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. If you want to somewhat recreate his delay youre in luck, as its pretty simple. 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. delay 1: 430ms -- feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital 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. It has a certain feel, which sounds boring and ordinary if you put it in 4/4. There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. solo: 475ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Hey You - Pulse version (TC 2290 Digital Delay): A good chorus like the Boss CE-2 or CE-5 can also be used in place of the flanger. 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. It was my very first delay and one of my favorite pedals for Gilmour-ish delay. 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. This creates a different bouncy feel to the delay rhythm. You should keep in mind that these official recordings have been sweetened to sound as good as possible.