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. BKB Tube Driver, Electro-Harmonix Electric Mistress, TC Nova delay. 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. solo: 420ms Some are actually too high quality for my personal taste. Its a core part of Pink Floyds earlier sound, and not just for Davids guitar. Reaction score. Because the notes all intertwine, it doesn't matter anyway, but I find that I usually set them on a triplet. 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. Most analog type delays have a lower quality repeat decay that rolls off more high end on each repeat. 1. delay time for intro and verse slide guitar: There are three different delay times on the repeats and they are slightly offset, Below is my replication of that 1984 ADT sound using two delays in series to two different amplifiers, in stereo. 430ms, Faces of Stone - 2015/16 live version: Treble: 4-5. Sometimes he even uses two delays at once to create certain double tapped echo effects or to make a solo sound bigger. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. ..delay #2 MXR Digital Delay System II (switched on at start of unison bends when mirror ball opens): 720ms The first delay is 380ms, 10-12 repeats, delay voume 95%. In fact, there was a time when Pink Floyds original road manager, Peter Watts, and I were the only two people who could actually maintain a Binson.They are so noisy, and I guess all the ones weve got now are so old that it is impossible to keep them noise free. That equates to 250 - 240ms. Both types have been described as "warm" sounding, which can get confusing. fourth solo: 40-50-ms slapback delay -- feedback: 1 repeat, Echoes That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. There are times when I have both running at the same time for certain effects. Note that some people confuse mixing delays in parallel with "stacking" multiple delays or running a stereo setup with one delay going to one amp and another delay going to different amp. 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. third solo (after dry solo): 380ms -- feedback: 2-3 repeats. Ex-DragonForce Bassist Reveals Why He Really Left the Band, Claims He Was Unhappy and Arguing All the Time With Them, Nuno Bettencourt Recalls How Eddie Van Halen Reacted to His Tapping Technique, Names Favorite Van Halen Album. - Boss CS-2 and Dyncomp compressors first, then CE-2B chorus in left channel added, the delay added, then plate reverb added. His tone is instantly recognizable and unique. volume swells in lords prayer section: 340ms -- feedback: 8-9 repeats 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. It makes for a sound that really adds depth to the guitar tone in the mix, but is not cluttered by delay repeats. delay 1 time: 90ms Anyone got some David Gilmour delay settings Anyone got some David Gilmour delay settings. Getting an original Binson Echorec these days is nearly impossible. The slide parts were made up of several multi tracked recordings, each playing slightly different, but similar phrases. The level or volume knob would be set to maximum on most delays for this. 380ms -- feedback: 3-4 repeats, On The Turning Away - 1991 live Amnesty International Big 3 O version: Often what I hear in the recordings is just natural room or hall reverb. The SDE 3000 was set for a 1500ms delay, giving approximately 20-30 seconds of regenrated delay repeats. That came from an old trick I'd been using, which is having a DDL in triplet time to the actual beat. I the clips below I play the 470ms delay first, then the 94ms delay, then both in series together. intro slide guitar: 1023ms This gives the impression of a 920-930ms delay. Exact 3/4 time is 150 x 3 = 450ms, which is our main delay time. For the delay, my favorite for this song is the old Boss DD-2, but any good digital delay will work. delay 1 time: 430ms -- feedback: 5-7 repeats - delay level: 30% -- delay type: warm digital 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. - Be sure to read the section above. David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. 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. solo: 540ms -- feedback: 4-5 repeats -- delay level: 18-20% -- delay type: analog, Any Colour You Like - 1994 live versions: - David Gilmour interview by Bob Hewitt from Guitarist, June 1986. Echorec 2 ..Echorec PE 603 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. If you have a clean amp, some settings to start with would be: Gain: 3 Treble: 7 Mids: 7 Bass: 6 Reverb: 5-6 analog gear was not as good as digital at the time, so the belief that analog is always better than digital arose. I use two delay pedals for Run Like Hell. volume swells in verse section after second solo: 680ms -- feedback: 4-5 repeats Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. David Gilmour Sound Part 4/4: DELAY & SETUP HISTORY - YouTube Some duplicate the studio album delay times and some duplicate the live delay times. Solo: TC 2290 Digital Delay: 430ms, Time - Delicate Sound of Thunder version (TC 2290 Digital Delay) : There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. Syd's theme - Hollywood Bowl March 2016. As an Amazon Associate, we earn from qualifying purchases. - first is 380ms delay in the left channel, then 380ms+507ms in the right channel. If you have a second delay, set that one in series to 930ms, 4-5 repeats, 30-35% volume. 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. But to sum up, both these digital units sound amazing, because if it didnt David Freakin Gilmour wouldnt be using them. A DD-2 was also seen in David's Medina studio around 2017. Set the 600ms dealy to half the repeats of the main delay, with a MUCH lower delay volume. I have a slight roll off of the high frequencies on the repeats to mimic the Echorec sound. The first delay is set to 570ms, which is the 4/4 time, and the second is set to 428ms, which is the 3/4 time. I have occasionally used spring reverb from an amplifier, but set very low so there is just a hint of that sound. HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? Record yourself playing alone verses playing along with a backing track to see what I mean. 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): Andrew Bell has 42 posts and counting. David probably just uses the term triplet because what he does has a similar feel. 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 delay was such an integral part of their sound, then almost any Pink Floyd song wouldnt sound complete without Davids signature delay sounds. Time intro - Isolated guitar from studio mix. Head 4 = 300ms (or 75ms x 4) .Head 4 = 380ms (or 95ms x 4) It features two separate bass guitar tracks played in time with a single head delay (head 4) from the Echorec. Mar 8, 2013. I use a compressor or a Tube Driver for this. The amp David used for the RLH studio recording is not known, but presumably it was a Hiwatt or Mesa Boogie Mark I. intro: 630ms -- feedback: 4-5 repeats -- delay level: 17% -- delay type: analog outro solo: 620ms -- feedback: 4-5 repeats, Yet Another Movie - 1987-89 live version: David Gilmour, as many guitarists will agree on, is an absolute legend. solos: 430ms, Yet Another Movie: 1st delay 428ms. delay 1: 250ms *While I did a ton of work figuring out many of these delay times, a big thanks goes to Raf and the fine folks at the Gilmour Gear Forum for providing some of the delay times and to Will for compiling a list of the 2015/16 tour delay times seen on David's digital delays! In order to use exact delay times it helps to have a delay with a digital display showing the time in miliseconds. David Gilmour Solo Tone Settings For "Time" . 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. It helps to have the echo repeats of the first delay fall right in between, or on the repeats of the second delay, so it has a rhtmic feel. I don't think I'll ever stick to one instrument - but the great thing about life is you don't have to. Echorec Style Delay Jamming - 428ms and 570ms. It is around 294ms on the studio recording. Below is a song-by-song list of delay times with some settings. You simply have to practice your timing so you can play the fills and get back to the D rhythm note exactly in time with the delay repeats. NOTE: This website is frequently updated. Kits Secret Guitar, Gear, and Music Page. David Gilmour adjusting his MXR rack effects from April 1984, including the MXR 113 Digital Delay, and MXR Digital Delay System II. 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): REVERB OR NO REVERB ? solo: 580ms, On The Turning Away - Pulse version (TC 2290 Digital Delay): The plate reverb sound is the best to use for Gilmour tones in my opinion, but minimally. 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. Last update July 2022. I'm not saying David sounds nothing like this live, but you are hearing the natural hall or stadium reverb of the venue in these recordings and in many cases, studio reverb added in the mixing stage. The delays are set in series like this: 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. On the left is my standard setting range for the early 1970s Gilmour Echorec sound. The secrets behind David Gilmour's tone on Pink Floyd's Comfortably 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. Use the feedback option to set it right where you think it sounds closest. 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. There are several reasons. intro: 650ms, Coming Back To Life - 2015/16 live version: I use the Tremotron from Stone Deaf Effects for this. Its more modern than the MXR, but it sounds just as good. It was set for a light overdrive setting and was most likely an always-on pedal. 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. Syd's theme: 375ms and 500ms Delay Level: This is the volume level of the delay repeat compared to the original signal. 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. Based on what I hear the guitar delay levels are not much different in either song, but I noticed the delay repeats are very clear in Castellorizon, but I barely hear them in OAI . 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. Or you can simply multiply the 4/4 time x75% and get the same 3/4 time. The Echorec 2 had six knobs - INPUT CONTROL (volume), LENGTH OF SWELL (number of repeats), VOLUME OF SWELL (volume of repeats), BASS/TREBLE (tone knob for the repeats), a three position SELECTOR knob, and a SWITCH knob that selected various combinations of the four playback heads. To do this manually, turn the feedback on your delay up to around 80% or so, so the repeats are almost infinite. #4. Multiply that number by 75% to get the triplet time delay. The third solo also sounds like it has reverb, but that sounds more like room reverb or plate reverb added in the studio. 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. Each was set to 380ms, 7-8 repeats, with the delay volume almost equal to the signal volume. 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. 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. It was my very first delay and one of my favorite pedals for Gilmour-ish delay. 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. - David Gilmour. Mids: 6-7. Head 1 = 1/4. 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. Find the proper delay time for the song as described above, then let's do some "Echorec math". 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. 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. It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. 410ms: feedback: 7-8 repeats - delay level: 90% -- delay type: warm digital, Terminal Frost - 1987-89 live version: The Effect Level (volume) and Feedback (number of repeats) will vary. delay time: 450ms -- feedback: 7-8 repeats -- delay level: 25% -- delay type: analog/digital mix, Another Brick in the Wall Part II (live): That second delay should just barely be audible, as too much volume can make a double tapped mess of the main delay. Too much can severely alter your guitar tone before it hits the amp, washing out the definition and clarity. Copyright Kit Rae. - Pulse version (TC 2290 Digital Delay): Hey You - Pulse version (TC 2290 Digital Delay): Money solo - studio version - multiple guitar tracks were recorded with different delay times (Binson Echorec 2 and Binson PE603): Money solos - live 1977 version (MXR Digital Delay System I): Money solos- Pulse version (TC2290 Digital Delay): One of These Days studio version (Binson Echorec): One Of These Days - 2015/16 live version: On the Run (The Traveling Section) - early live guitar version from 1972 (Echorec PE 603): On The Turning Away - 1991 live Amnesty International Big 3 O version: On The Turning Away - Pulse version (TC 2290 Digital Delay): Poles Apart - Pulse version (TC 2290 Digital Delay): Rattle That Lock - 2016/15 Live version: Run Like Hell - two guitars multi-tracked (delay used was likely the MXR M113 Digital Delay): Run Like Hell - 1984 live versions - two delays in series, each with a different delay time (MXR M113 Digital Delay and Boss DD-2): Run Like Hell - Delicate Sound of Thunder and Pulse - two delays in series (TC 2290 Digital Delay for main delay + 2290 ADT effect): Shine On You Crazy Diamond I-V (Binson Echorec): Shine On You Crazy Diamond VI-IX (Binson Echorec): Shine On You Crazy Diamond I-V - 1987-89 live version: Shine On You Crazy Diamond I-V - 1994 live / Pulse version (TC 2290 Digital Delay): Shine On You Crazy Diamond I-V Syds theme - 2016/15 Live version: Short and Sweet - David Gilmour live 1984 version (Boss DD-2): Sorrow Solo and intro/outro - Delicate Sound of Thunder version (TC 2290 Digital Delay): Sorrow Intro / Outro - Pulse version (TC 2290 Digital Delay): Sorrow Solo - Pulse version (TC 2290 Digital Delay): Time - Pulse version (TC 2290 Digital Delay): Time - Delicate Sound of Thunder version (TC 2290 Digital Delay) : Us and Them - Pulse version (TC 2290 Digital Delay): *While I did a ton of work figuring out many of these delay times, a big thanks goes to Raf and the fine folks at the. One of these Days evolved from some of my experiments with the Binson, as did Echoes - David Gilmour, Guitar World February 1993, there are some things that only a Binson will do. verse / chorus: 435ms, Wearing the Inside Out: I used a Free the Tone Future Factory delay set for 300ms and long repeats. 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%. But which delay pedal (s) does/did he use? I use the MXR Digital Delay. 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. 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). You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms). Those are not the type of parallel setup we are talking about here. Generally speaking, the sound on the album is pretty much what came out of his amp. Shown below are my Boss delay time settings to replicate the Run Like Hell band demo recording sound. 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). Great, lets get started. 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. Scales David Gilmour is a big proponent of the minor and major pentatonic scales. alternate: 380ms, High Hopes - 2015/16 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. He did sometimes use the Swell mode. 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. For example, 380ms is your triplet 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. If you set it too high it will self oscillate into a whining feedback. 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. 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. 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. I have managed to nearly replicate what a Binson will do using a combination of modern digital unitsthe multi-head sounds, as well as the Swell settingwhich is what I use on the beginning of Time, for example - David Gilmour, Guitar World March 2015. These were state of the art delays at the time, but were rather noisy effects compared to modern digital delays. 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. For the modulation, I use an old green 18v Electric Mistress or a 1980s era Deluxe Electric Mistress in the big box. 3. Run Like Hell with 380ms and 507ms delay in series. As technology was progressing, the use of rack effects units became more and more efficient. Pink Floyd is known for their use of soundscapes and textures that would later characterize genres such as progressive rock and psychedelic rock. This is probably spring reverb from David's Twin Reverb. 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 . Theyre so famous they sell for a very high price and are deemed a collectable for many. - 2016/15 live version: On the one hand, finally cracking one of my favourite guitar player's [] slide guitar solos: 400ms, On the Run (The Traveling Section) - early live guitar version from 1972 (Echorec PE 603): 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. 80x2 = 160. 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. If running the delays parallel, set for about 12 repeats on each. It's a beautiful sound, but David did not use tape delays like this. To get the Pink Floyd sound, you'll need to use some specific equipment and settings. buildup and arpeggio delay time: 300ms -- feedback: 7-8 repeats - delay level: 40% -- delay type: analog, Echoes - live Gdansk Version: He used analog delays like the Binson Echorec throughout the 1970s and one has been seen in his Medina studio from 2013-2017. 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. - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. It was strange because it didn't utilize tape loops. 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. In this video I'm demonstrating how to set up your David Gilmour delay sounds and settings. He then upgraded to an MXR Digital Delay System II. The second delay David used was the MXR Digital M-113 Delay. It has a digital readout, but it's really nowhere close to being accurate. Electro-Harmonx has made a few small boxed versions of the Electric Mistress, but these have different circuits and sounds as the originals. Below is an excerpt of David's bass guitar part, extracted from the 5.1 surround mix of Meddle. La guida un lavoro in continua evoluzione ed in continuo aggiornamento. 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. Solo: 430ms, Fat Old Sun- 1971/72 live versions: chords / arpeggios: 480ms 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. 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. 4. outro arpeggio riff: 310ms, Shine On You Crazy Diamond VI-IX (Binson Echorec): 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. - 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. Solo: 440ms ? second solo delay #1 TC2290 Digital Delay (whole solo): 480ms Members; 529 Members; Share; Posted December 21, 2005. 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. The official live recordings often have an even larger delay sound than the studio versions.
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