first solo: 450ms -- feedback: 4-5 repeats -- delay level: 20% -- delay type: analog 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. Some songs require softer, warmer analog sounding repeats, and others require cleaner, more accurate digital delay repeats. Theyre so famous they sell for a very high price and are deemed a collectable for many. Delay volume 85% Below is a medley of David using the Echorec from 1969-1977. This is a big part of Pink Floyds sound. Andrew Bell has 42 posts and counting. Two guitars were multi tracked in the left and right channels. Free shipping for many products! If you get too high a quality bandwidth on a DDL you hear too much pinging and lose the sort of echo effect I use it for. 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. When the notes pitch up or down the delay has 4-5 repeats. David usually used positions 1-4, for single playback repeats of heads 1-4. 3. The repeats had a warm high end roll off, similar to David's Binson Echorecs. Delay volume 50%. Below is a clip illustrating plate reverb from a Free The Tone Ambi Space stereo reverb pedal. That keeps you from getting a loud, double-tappy mess. - In general, no - but sometimes, yes. which is what gives the verse section that floaty, ethereal feel. SLAPBACK / ADT DELAY - It is not often, but ocassionally there is what sounds like a short slapback delay in Gilmour's guitar recordings, like the "dry" solo in Dogs from the Animals album. The tape splices were then camouflaged with cymbal crashes. intro and verse volume swells, first solo: 620ms -- feedback: 6-7 repeats The first delay is 380ms, 10-12 repeats, delay voume 95%. NOTE: This website is frequently updated. third solo (after dry solo): 380ms -- feedback: 2-3 repeats. It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. But to sum up, both these digital units sound amazing, because if it didnt David Freakin Gilmour wouldnt be using them. Head 2 = 150ms (or 75ms x 2)..Head 2 = 190ms (or 95ms x 2) David used various Echorec models but he was most known for using the Echorec 2 model T7E. If you want to somewhat recreate his delay youre in luck, as its pretty simple. 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): Below is my replication of that 1984 ADT sound using two delays in series to two different amplifiers, in stereo. 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. Example: You determine the 4/4 beat/song tempo is 600ms. I go a little in-depth for all three of them, and Ill give some tips on how you can emulate his sound. BKB Tube Driver, Electro-Harmonix Electric Mistress, TC Nova delay. Time intro - Torino, Italy, Sept 13, 1994. 530ms -- feedback: 4-5 repeats, Coming Back To Life: Those are not the type of parallel setup we are talking about here. FINDING THE "TRIPLET" TIME DELAY FOR A SONG - David has sometimes used a rhythmic 3/4 time delay, what he calls "triplet" time. 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. Its a core part of Pink Floyds earlier sound, and not just for Davids guitar. The second delay should just be accenting the first, filling the space between the 3/4 repeats. buildup and arpeggio delay time: 300-310ms -- feedback: 7-8 repeats - delay level: 40% -- delay type: analog/digital, Eclipse April 9, 2022. by Joe Nevin. 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. Too much can severely alter your guitar tone before it hits the amp, washing out the definition and clarity. The early Boss DD-3 pedal had exactly the same circuit as the DD-2. 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. What is interesting about this performance is that it is probably the only time David is known to have used a tape delay. The MXR Digital Delay System II was an upgraded version of the 113 that showed the delay time in milliseconds on the front panel and featured additional fine tuning controls. Mar 8, 2013. Below are settings to get that sound. 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. 520ms -- feedback: 5-6 repeats - delay level: 20% -- delay type: analog, Money solos- Pulse version (TC2290 Digital Delay): slide guitar solos: 300ms, One Of These Days - 2015/16 live version: The third and final (that we know of) delay he usd was the TC Electronic 2290 rack unit. The repeats in the RLH studio recording sound clear and clean, so the MXR was probably the delay used for the studio recording, and it was used for the 1980-81 live performances. All these effects can be heard in most of Pink Floyds discography. 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. intro and verse volume swells, first solo: 480ms -- feedback: 6-7 repeats Electro-Harmonx has made a few small boxed versions of the Electric Mistress, but these have different circuits and sounds as the originals. 1. He used both in his 1980s live rigs, and continued to use the MXR System II up until 2016. To get the 4/4 time delay, simply multiply 126.7 x 4 = 506.8ms. David is using two delays from a PCM70 rack delay to simulate the Echorec sound. You can also set the second delay to 254ms, which gives three repeats for every beat and adds a shorter, thick ADT slapback sound to the main 380ms delay. On the one hand, finally cracking one of my favourite guitar player's [] David Gilmour is famous for his unique use of delay and echo. Below is a breakdown switching between the various tracks of all three solos. 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, . There were varispeed modifications that could be made to the Echorec to give it longer delay times, but it does not appear that David ever had this modification done. If your delay does not have a dry defeat feature, it is pointless to use in a parallel setup. This is because the orchestra in Castellorizon is not loud enough to mask the repeats, but the band playing under the solo in On an Island certainly is. - Delay Rhythm Guitars Mixed Up Front - both channels. All rights reserved. It was set for a light overdrive setting and was most likely an always-on pedal. If you set it too high it will self oscillate into a whining feedback. Pink Floyd is deemed as one the all-time best bands to ever exist on this planet. His delay times are slightly faster here. 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. What delay pedal does David Gilmour? First is the delay, then the square wave tremolo, then both together. Tweaking the delay time was simply more tweakable on the MXR Digital Delay. What delay pedal does David Gilmour? - Guitar Reviewed Why is that important? Run Like Hell with 380ms and 507ms delay in series. fills under second and fifth solos: 507ms -- feedback: 4-5 repeats 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. Head 2 = 2/4 - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. To truly delve into David Gilmour's sound, you'd need to do a lot of research and buy a lot of vintage gear. Kits Secret Guitar, Gear, and Music Page I use one of their old ones most of the time because the width is narrower. He always kept the Echorec in tip top shape, and after the MXR Delay System used a variety of digital delays, including the DD2 and later the TC 2290. But the delay was in 3/4 increments of the beat and the vibrato went with the beat. R channel -- 1400ms with two repeats. NOTE: This website is frequently updated. Every aspect of his tone can change on different albums, even on different tracks of the same album! 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. 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. There are several reasons. 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. #4. It is a great example of what David calls "triplet time" delay playing, which is actually dotted eighth notes. 147ms (2X the delay repeats), or 2 pulses for every delay repeat. You can use two delays in series (one after the other) or in parallel (each in a seprate signal path) to get David's multi-head Echorec style repeats. I the clips below I play the 470ms delay first, then the 94ms delay, then both in series together. He would do this for each chord change in the intro to, David did an early version of sound-on-sound way back in October of 1970, in one of the few times Pink Floyd performed Alan's Psychadelic Breakfast live. The last 8 minutes of the song is a rambling collage of echo repeats. solo (Pulse): 490ms, Astronomy Domine - Pulse version (MXR Digital Delay System II for solo) 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. DELAY TYPES - ANALOG AND DIGITAL - David has used numerous types of delays in his carreer, both analog and digital. David was very much in control of his sound system We rarely added effects to his guitar in the control room. delay 1: 430ms -- feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital solos: 660ms -- feedback: 6-7 repeats, Time: The 450ms delay should come before the 600ms delay in your signal chain. You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms). I use a compressor or a Tube Driver for this. His tone is instantly recognizable and unique. "Square wave" means the sound wave looks square shaped, rather than wavy. Set it to about 370 milliseconds, mix it low, and set the repeats to about 3-4 times. E.g the RATE for most settings had been about 22 more clockwise (slightly faster sweep) on the Wall compared to the Animals tour. 500ms -- feedback: 5-6 repeats. - David Gilmour, Guitar World magazine. If the repeats are faster than the tempo, increase the delay time. 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 main delay rhythm that runs throughout the song is two guitars, one in the left channel and one in the right. It also stems from the fact that analog equipment is frequently much more expensive than it is worth. 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. 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. - Boss CS-2 and Dyncomp compressors first, then CE-2B chorus in left channel added, the delay added, then plate reverb added. 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. 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. - Be sure to read the section above. The most recognisable and somewhat stereotypical sound that Pink Floyd uses is their ambience. Then I play the bass rhythm clean, then with the effects on. - 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. intro: 780ms, Coming Back To Life - Pulse version (MXR Digital Delay II and TC 2290 Digital Delay): verse: 360ms He used three delays there, but again, I can only distinctly hear two. intro: 630ms -- feedback: 4-5 repeats -- delay level: 17% -- delay type: analog Here is a clip of a single 330ms delay playing the Blue Light riff. As the chord rang on, David could then play the melody lines through his main Hiwatt. 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. David maintained his Echorecs well and replaced them often however, so his sound only had minimal high end roll-off in the repeats. 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. During the tour a T-Rex Replica was added specifically to use for "Echoes". Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. Here is a breakdown from the Great Gig multi tracks. To get the second delay in 4/4 time, multiply 150 x 4 = 600ms. For the delay, my favorite for this song is the old Boss DD-2, but any good digital delay will work. Each was set to 380ms, 7-8 repeats, with the delay volume almost equal to the signal volume. delay 2 time: 360ms, Us and Them - Pulse version (TC 2290 Digital Delay): 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. There are several modern Echorec style pedals, including a few with more accurate playback head controls than the Catalinbread, but the Cat Echorec is a fairly no nonsense, simple to use version that sounds great. 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. REVERB OR NO REVERB ? 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. The delay time must also be precisely in time with the song tempo. 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. 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 Time: Shown in milliseconds. 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 best way I have found to create the smoothest delay is to simply set it in time with the song tempo. David Gilmour, as many guitarists will agree on, is an absolute legend. The Blue - 2016/15 live version: outro solo : delay 1 = 1000ms -- feedback: 1 repeat / delay 2 = 720ms -- feedback: 3-4 repeats, Take A Breath 2006 live versions: 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. The other output went to a Sound-on-Sound interface built into David's rack, which fed a second Hiwatt amp and 4x12 speaker cabinet. Using two delays to simulate the multi head Echorec effect - 470ms and 352ms. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. The specific delays he used were as I said the Binson Echorec, the MXR M-113 Digital Delay, and the TC Electronic 2290. His first was an MXR 113 Digital Delay System, one of MXR's first rack effects. Most analog type delays have a lower quality repeat decay that rolls off more high end on each repeat. THE RULING CASTE: IMPERIAL LIVES IN THE VICTORIAN RAJ By David Gilmour Once you have that, turn the feedback down so there are only about 3-6 repeats, adjust the delay volume to suit the song, and you are ready to go. - David Gilmour from Guitar for the Practicing Musician, 1985. 5 A.M. : solos: 430ms, Yet Another Movie: The other is more natural sounding because it is added post amplification, which is more like what real reverb does. 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. 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. There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. 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). 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. All of the settings for this tone can be found in this PDF download below. 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. 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. intro: 425ms DAVID GILMOUR DELAY TIME LIBRARY - Song by Song. 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. solo: 580ms, A Great Day For Freedom - Pulse version (TC2290 Digital Delay): I don't care how I get it. delay 2 time (second delay ADT effect): 80ms -- feedback 2-3 repeats - delay level: 30% -- delay type: digital, Sheep - 1977 live version: A second and third guitar repeat similar slide phrases, playing slightly behind the first guitar. 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. alternate 2nd Solo: 540ms 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. Below is an example from 2016 of David Gilmour using three delays to simulate the Echorec sound in Time. solos: 540ms, What Do you Want From Me? 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. 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. 5. That's another one of the personal esthetic judgments that you use in trying to get something to sound nice to yourself. verse/chorus sections: 310ms -- feedback: 3-4 repeats 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! Or you can simply multiply the 4/4 time x75% and get the same 3/4 time. It was compiled by measuring the echo repeats in official releases and bootlegs of live recordings, and from delay times visible on the LCDs of David's digital delays. That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. Brain Damage - Pulse version (TC2290 Digital Delay): Breathe - studio version (several duplicated multi track recordings offset to create the long delay repeats): Breathe - Pulse version (TC2290 Digital Delay): Coming Back To Life - Pulse version (MXR Digital Delay II and TC 2290 Digital Delay): Coming Back To Life - 2015/16 live version: Comfortably Numb - 1986 live version / Columbian Volcano Appeal Concert: Comfortably Numb - Pulse version and most Division Bell tour performances: Eclipse CATALINBREAD ECHOREC - One of my favorite simple Echorec style delays is the Catalinbread Echorec. 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. There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment. He is also known for using the legendary Proco Rat and MXR Phase 90. second solo: 560ms -- feedback: 3-4 repeats, On An Island - 2006 live versions: David almost always uses delays in his live rigs, not reverbs. I use 240ms. Its not a cheap pedal (around 250$ new), but its way cheaper than an original. Make David Gilmour's Shimmering Sustained Delay in Live. Pink Floyd's "Shine On You Crazy Diamond" is a classic, thanks in large part to David Gilmour's otherworldly guitar playing. For the middle section another piece of technology came into play: an HH amp with vibrato. Breathe Intro Using One Delay - One 440ms delay with 4-5 repeats also works well. His delay times typically ranged from 300ms-550ms, with 5-8 repeats, but some songs required more specific delay times and settings, as detailed below. ..delay #2 MXR Digital Delay System II (switched on at start of unison bends when mirror ball opens): 720ms second solo: 640ms -- feedback: 6-7 repeats 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 Run Like Hell Tone Building - Boss CS-2 compressor, Hartman Flanger, and two Boss DD-2 delays. 1st delay 470ms. 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. third (dry) solo: simulate studio ADT with a 40-50-ms slapback delay -- feedback: 1 repeat solo: 580ms, On The Turning Away - Pulse version (TC 2290 Digital Delay): If you have a second delay, set that one in series to 930ms, 4-5 repeats, 30-35% volume. One day, Roger decided to take some of the techniques that I was developing and try them out himself on bass. David would use the latter setting for most of the album. Last update September 2022. 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. The trick is not to overdo it. The third solo is also artificially double tracked, which you can simulate with a short 60-90ms slapback delay with one repeat. The fill patterns played in the verse section sound dry, with almost no delay. 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. 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. Alans Psychadelic Breakfast with 2.2 second tape delay_Oct 1970. 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. 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. For David's 2006 rig one output from his Mk 2 Cornish-built pedalboard went to his main Hiwatt amp and 4x12 speaker cabinets. Any delay with a 100% wet signal output can be set up in a parallel signal chain to do this. Find the proper delay time for the song as described above, then let's do some "Echorec math". If you listen to a song where the band is not playing at all, like intro to Pink Floyd's Coming Back to Life, the delay repeats are very clear. I also use it to add some of the bigger room and concert hall sounds.