outro arpeggio riff: 310ms, Shine On You Crazy Diamond VI-IX (Binson Echorec): To figure a 4/4 dealy time to work with any 3/4 triplet delay time, you can split the 3/4 time delay into thirds. The second delay is set for 254ms, 1 repeat, with the delay volume set at 50%. Both types have been described as "warm" sounding, which can get confusing. volume swells in verse section after second solo: 680ms -- feedback: 4-5 repeats If you put it in a 3/4 time it has an interesting bounce to it. Song tempos are rarely exactly the same every performance, but the SOYCD tempo is usually around 140 bmp. How to Sound Like Dave Gilmour - Guitar Lessons London The main rythm in the left and right channels of the studio recording is domantly the 3/4 time. I use one of their old ones most of the time because the width is narrower. solos: 440ms -- feedback: 7-8 repeats - delay level: 15% -- delay type: analog Delay volume 85% Delay volume 65% David bought an Echorec PE 603 model in 1971 that had a maximum delay time of around 377-380ms. - David Gilmour from Guitar for the Practicing Musician, 1985, We also have an old MXR DDL (MXR Digital Delay System II) digital delay unit built into a rack unit. Sound like David Gilmour (Pink Floyd) By Busting The Bank! POWER BOOST PLACEMENT - The Colorsound Power Boost was an overdrive that David used throughout the 1970s. - David Gilmour, Guitar World magazine. : It's just like the old Echoplex unit, David bought an Echorec PE 603 model in 1971 that had a maximum delay time of around 377-380ms. David used the DD-2 extensively in the mid to late 1980s, as well as using a Pete Cornish Tape Echo Simulator (TES) in 2006, which was a Boss DD-2 circuit with a selectable roll-off filter added to simulate the worn tape head sound of old tape delays like the Binson Echorec. 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 time (main delay): 380ms -- feedback 8-10 repeats - delay level: 95% -- delay type: digital outro solo: 620ms -- feedback: 4-5 repeats, Yet Another Movie - 1987-89 live version: Instead, it used a metal recording wheel. 5 Pedals or Less: How to Sound Like Dave Gilmour Back at it again, the hunt for tone never ends. The first is set in 3/4 time (dotted eighth notes) for about 8 echo repeats at exactly 380ms, or three repeats for every song beat. outro solo: 680ms -- feedback: 4-5 repeats. Note that I am not talking about spring or amp reverb, or a reverb pedal, which is a completely different sound. 2. David usually used positions 1-4, for single playback repeats of heads 1-4. 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. 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. 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. It's actually a metallic disc that spins around. 650ms delay first, with 2 repeats, and 1400ms delay second with 1 repeat. - David has used numerous types of delays in his carreer, both analog and digital. Run Like Hell Tone Building - Boss CS-2 compressor, Hartman Flanger, and two Boss DD-2 delays. Gilmour's Binson Echorec 2 model T7E from 1970-71. 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. tremolo effect for middle section: 294ms delay, 7-8 repeats / tremolo with gated square wave, depth set to maximum, and speed set for You could nail his famous sound with a handful of pedals, though, which makes it that much more achievable. Electric Mistress V2, V3, or V4: His tone is instantly recognizable and unique. 234ms and 150ms also works. Multiply that number by 75% to get the triplet time delay. The settings Gilmour uses usually create a minimal effect, but his sompressors really helps to smooth out the tone and playing. This is a big part of Pink Floyds sound. The first Money solo, for example, sounds like it is awash in spring reverb. David Gilmour Delay Time Library - Kit Rae Mids: 6-7. That is an example where David seems to have set the delay speed by ear, rather than going by an exact Echorec formula. Delay volume 50%. 480ms: feedback: 7-8 repeats - delay level: 75% -- delay type: clear digital, Sorrow: - first is 380ms delay in the left channel, then 380ms+254ms in the right channel. Unfortunately the Catalinbread Swell control cannot be set as high as it needs to be for the Time intro, but it gets close. Gilmour's delay on Coming Back to Life | The Gear Page There is also the "modulation" factor which is a common feaature on modern analog and digital type delays. April 9, 2022. by Joe Nevin. volume swells: 1100ms -- feedback: 4-5 repeats. Another option is to run two delay pedals simultaneously. 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: 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 Record yourself playing alone verses playing along with a backing track to see what I mean. 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. That may be just my fantasy; I don't know. It's a sort of melodic delay to use. You can change the feel of the delay repeats by cutting the 600ms delay time in half to 300ms, 1/4 time to 150ms, or double it to 1200ms, et cetera. To get the 4/4 time delay, simply multiply 126.7 x 4 = 506.8ms. fourth solo: 40-50-ms slapback delay -- feedback: 1 repeat, Echoes Below is a breakdown of how to play this effect. Alternate (Pulse): Delay 1 = 430ms / Delay 2 = 1023ms, Hey You: You can check this by mute picking a single note simultaneous with a drum beat, then listen to the repeats. Here is a clip of a single 330ms delay playing the Blue Light riff. This was most likely a reel-to reel recorder set up for a tape-loop delay. There is an EMT 140 plate reverb on David's floating Astoria recording studio and the four famous EMT 140 plate reverbs at Abbey Road studios can be heard on early Pink Floyd recordings, especially Dark Side of the Moon. 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. This warble is similar to a light chorus sound, with high end roll-off. David and Roger Waters each had one of these amps but I think the only other recorded example of it being used was for the BBC performance of Embryo in 1968. 1st delay 470ms. 2,434. It was usually set for single head and a fixed time at about 310ms. Some are actually too high quality for my personal taste. I have occasionally used spring reverb from an amplifier, but set very low so there is just a hint of that sound. David often uses long echo delays to help create a his big, smooth, and liquidy solo tones. As the song plays on I dial the delay volume and number of repeats higher and higher. It created a unique stuttered stacatto rhythm. But to sum up, both these digital units sound amazing, because if it didnt David Freakin Gilmour wouldnt be using them. 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. The first send went to a volume pedal. David Gilmour was the guitarist for English rock band Pink Floyd. Guida Al Setup Di David Gilmour - Giampaolo Noto Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. Kits Secret Guitar, Gear, and Music Page For the delay, my favorite for this song is the old Boss DD-2, but any good digital delay will work. Alans Psychadelic Breakfast with 2.2 second tape delay_Oct 1970. Feedback: This is the number of audible repeats. Shorter delay times are more obvious because the repeats are heard in between notes and phrases. solos: 540ms, What Do you Want From Me? These are 5 note scales, pretty much the simplest scale a guitarist could use. He did sometimes use the Swell mode. Great Gig Slide Guitar Breakdown. This pedal was a little easier to use than the Binson, and it's the exact delay you can hear in 'The Wall'. slide solo: 550ms -- feedback: 4-5 repeats slide guitar solos: 300ms, One Of These Days - 2015/16 live version: studio album solo: 275ms Gilmour uses pristine delays. 530ms -- feedback: 4-5 repeats, Coming Back To Life: The MXR 113 was released in 1976 and David first used it for Pink Floyd's Animals tour in 1977. Gilmour delay: '60s-'70s: Binson Echorec II. 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. slide solo: 550ms -- feedback: 7-8 repeats In four beats you will hear 5 repeats (including the pick), and and that fifth repeat will time right on the fourth beat. One of These Days - gated tremolo section isolated. solo: 430ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Keep Talking: For his 2015 tour he used a Providence Chrono Delay and two Flight Time delays. As technology was progressing, the use of rack effects units became more and more efficient. Example: You determine the 4/4 beat/song tempo is 600ms. Delay Level: This is the volume level of the delay repeat compared to the original signal. 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. A few of David Gilmour's vintage Binson Echorec 2 model T7E delays. 3rd solo: 430ms, Money solos - 2015/16 live version: Head 2 = 2/4 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. The IC-100 tremolo was set to maximum depth and the trem speed was set so there are two pulses for every delay repeat. Kits Secret Guitar, Gear, and Music Page Set it to about 370 milliseconds, mix it low, and set the repeats to about 3-4 times. The Tone From Heaven: SETTINGS It was set for a light overdrive setting and was most likely an always-on pedal. Bass: 5-6. Echorec head 4 = 312ms / Echorec head 1 - 78ms intro and verse volume swells, first solo: 480ms -- feedback: 6-7 repeats The level or volume knob would be set to maximum on most delays for this. His most commonly used delay times were in the 294-310ms range and 430ms. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. 8-10 repeats on the first delay and as many repeats as possible on the second, or as long as it can go without going into oscillation, which is around 3-4 seconds on most delays. David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. ..delay #2 MXR Digital Delay System II (switched on at start of unison bends when mirror ball opens): 720ms I have two units, and I have different echo settings on both. slide violin intro: 300ms -- feedback: 8-9 repeats - delay level: 90-100% -- delay type: analog That ADT slapback sound can also be heard on other Run Like Hell concert recordings, like Delicate Sound of Thunder, Pulse, and David Gilmour Live at Pompeii, but to a lesser effect. 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. I have one for specific time settings, for things like, , so I know in numbers (delay time in milliseconds) what setting I need to use. Set the 600ms dealy to half the repeats of the main delay, with a MUCH lower delay volume. R channel -- 1400ms with two repeats. outro solo: 430-450ms, One of These Days studio version (Binson Echorec): first solo: 340ms -- feedback: 3-4 repeats Unless otherwise noted, all delay times are shown in quarter notes I set the vibrato to more or less the same tempo as the delay. You should keep in mind that these official recordings have been sweetened to sound as good as possible. Below is an example from 2016 of David Gilmour using three delays to simulate the Echorec sound in Time. 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): 1st solo: 310ms The volume swells can be easily created today with a delay and a volume pedal. solo: 580ms, On The Turning Away - Pulse version (TC 2290 Digital Delay): In the studio recording the 4/4 delay is not very obvious, so it was low in the mix, possibly only in one channel, or both. delay 1: 430ms -- feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital Make David Gilmour's Shimmering Sustained Delay in Live. A good chorus like the Boss CE-2 or CE-5 can also be used in place of the flanger. Pink Floyd's "Shine On You Crazy Diamond" is a classic, thanks in large part to David Gilmour's otherworldly guitar playing. 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%. This gives the impression of a 920-930ms delay. The specific delays he used were as I said the Binson Echorec, the MXR M-113 Digital Delay, and the TC Electronic 2290. The delays are set in series like this: Program Position 5 is equivalent to Switch Position 7 on the real Echorec, which is Head 4 + Head 3. 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. Copyright Kit Rae. Money solos - live 1977 version (MXR Digital Delay System I): David Gilmour adjusting his MXR rack effects from April 1984, including the MXR 113 Digital Delay, and MXR Digital Delay System II. second solo before verse: 350ms -- feedback: 3-4 repeats David Gilmour's Guitar Style Lesson - Part 1 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! Run Like Hell with 380ms and 254ms delays in series. David has often usied very long delay times, so the repeats are not as obvious because he is playing the next bit of a solo phrase right when the repeats from the previous notes start. But which delay pedal(s) does/did he use? These were state of the art delays at the time, but were rather noisy effects compared to modern digital delays. It has a certain feel, which sounds boring and ordinary if you put it in 4/4. During the tour a T-Rex Replica was added specifically to use for "Echoes". USING TWO DELAYS TO MIMIC AN ECHOREC - David stopped using the Echorec live after 1977. Treble: 4-5. ..(later in song): 450ms -- feedback: 4-5 repeats -- delay level: 25% -- delay type: analog, Comfortably Numb - 1980-81 live version: If you want this sound and have a delay that shows the time in milliseconds, follow these steps. First is the delay, then the square wave tremolo, then both together. 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. Head 2 = 150ms (or 75ms x 2)..Head 2 = 190ms (or 95ms x 2) Most analog type delays have a lower quality repeat decay that rolls off more high end on each repeat. Some duplicate the studio album delay times and some duplicate the live delay times. Fat Old Sun- 2015/16 live version: 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. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. You just tap along to the song tempo with your keyboard and it calculates the BPM tempo for you. There are times when I have both running at the same time for certain effects. To add some modulation and a spacious feel to the delay tone on the studio recording David used either a Yamaha RA-200 rotary speaker cabinet or an Electric Mistress flanger. 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. - 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. 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. 1st solo: 435ms The TC Flashback can be set up with the Tone Print edito. Generally speaking, the sound on the album is pretty much what came out of his amp. The fill patterns played in the verse section sound dry, with almost no delay. solo: 680ms -- feedback: 1 repeat - delay level: 30% -- delay type: digital. Time intro - Isolated guitar from studio mix. Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. Solo: 440ms ? The repeats had a warm high end roll off, similar to David's Binson Echorecs. Andrew Bell has 42 posts and counting. The 450ms delay should come before the 600ms delay in your signal chain. Many of the sound effects youll hear on the earlier albums were created with this machine. He notoriously used a Binson Echorec for his delays, and many other vintage pedals and studio outboard gear to achieve his tone. I run it last in the signal chain and I almost always have a light plate reverb sound on when I play. 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. Divide 240 by 3 and you get 80. Although it is simple to play, you must play exactly in time with the delay or it will sound sloppy. A little later he switched to the MXR Digital Delay. There is a also bit of light overdrive in the tone. 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. www.gilmourish.com this website has info on Gilmours tone and gear used. 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). That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. 20K views 9 years ago My Delay settings for Run Like Hell as played by David Gilmour, Pink Floyd. MXR DIGITAL DELAYS - David began using digital delays in 1977. Copyright 2023 Killer Guitar Rigs. 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. solo: 680ms, Another Brick in the Wall Part 1: Solo: TC 2290 Digital Delay: 430ms, Time - Delicate Sound of Thunder version (TC 2290 Digital Delay) : second solo: 640ms -- feedback: 6-7 repeats Using two delays to simulate the multi head Echorec effect - 470ms and 352ms. It is impossible to achieve the exact same tone as a player without using the same equipment. bass guitar rhythm delay (two bass guitars): 294ms, 7-8 repeats I use several of the Program Select positions for various other things, but for Gilmour it's usually just position 1, 4, and 3. 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. 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 makes for a sound that really adds depth to the guitar tone in the mix, but is not cluttered by delay repeats. That equates to 428ms, which we will call the 4/4 time. David Gilmour is famous for his unique use of delay and echo. second solo: 480ms -- feedback: 6-7 repeats 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. The exact delay times would be 450ms for the 3/4 time and 600ms for the 4/4 time. The mode should always be set at 800ms, unless you want a short slapback delay for something like the dry solo in, Kits Secret Guitar, Gear, and Music Page. Echorec Style Delay Jamming - 428ms and 570ms. By porsch8 December 21, 2005 in Effects and Processors. It also had delay width and frequency knobs in the Sweep section to add some chorus, vibratto, and flange effects, but I think David rarely used those, if ever. DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. 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. Anyone got some David Gilmour delay settings Anyone got some David Gilmour delay settings. - engineer Alan Parsons, on the 1973 Dark Side of the Moon sessions, (left to right) Gilmour's Binson Echorec 2 and Echorec PE 603 stacked on top of his Hiwatts from 1973, and an Echorec 2 from 1974, Binson Echorec PE 603 like the one Gilmour used from 1971-74 in his live rigs. Then I play the bass rhythm clean, then with the effects on. Occasionally David may be using a long repeat time on one delay, and a shorter repeat time on another delay simultaneously. This website is frequently updated. 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. 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. 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. Last update July 2022. 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. Below are examples from 2016 of David using three digital delays in series for Syd's theme from performances of Shine of You Crazy Diamond. Too much can severely alter your guitar tone before it hits the amp, washing out the definition and clarity. solo: 475ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Hey You - Pulse version (TC 2290 Digital Delay): - Delay Rhythm Guitars Mixed Up Front - both channels. David Gilmour Lead Guitar Tone Tutorial - Time - GuitarLessons365 delay 1: 250ms 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. David's Echoes delay time of 300ms, one for the delay in Time, and 423ms in the display. The delay time must also be precisely in time with the song tempo. 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. A bit of delay can smooth out the unpleasant, raw frequencies you get from a fuzz box. E.g the RATE for most settings had been about 22 more clockwise (slightly faster sweep) on the Wall compared to the Animals tour. The delay volume is often not very loud in the studio recordings, so in a full band context, the other instruments mask the repeats. Later versions of the DD-3 have different circuits. 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). 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. The delays are set in series like this: 1st delay 428ms. It is a great example of what David calls "triplet time" delay playing, which is actually dotted eighth notes. 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. 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. Here are what the settings mean -. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. outro solo : delay 1 = 1000ms -- feedback: 1 repeat / delay 2 = 720ms -- feedback: 3-4 repeats, Take A Breath 2006 live versions: Any delay with a 100% wet signal output can be set up in a parallel signal chain to do this. This is similar to the sound David had for his 1984 live performances of Run Like Hell, as heard on the David Gilmour In Concert video released in 1984 by CBS, and the Westwood One Radio Network FM broadcast of the July 12th concert in Bethlehem Pennsylvania.
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