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). The type of multi-head repeats varied depending on which of the four playback heads were selected. Solo: 430ms, Fat Old Sun- 1971/72 live versions: 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. It was my very first delay and one of my favorite pedals for Gilmour-ish delay. I go a little in-depth for all three of them, and Ill give some tips on how you can emulate his sound. alternate: 380ms, High Hopes - 2015/16 live version: A single delay set at 1400ms with 3 repeats has a similar feel as well. The delay time on head 4 was approximately 300ms, but it could vary depending on the mains voltage. 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. 1st delay 240ms. The early Boss DD-3 pedal had exactly the same circuit as the DD-2. Just get any old delay pedal, analog or digital, and set the time slow. SOUND-ON-SOUND - David Gilmour had a special Sound-on-Sound (S-O-S) rig built for performing the intro to a new acoustic version of Shine On You Crazy Diamond for his 2001-2002 Meltdown concerts and he used this same rig for his 2006 tour. 2nd delay 375ms. Other common delay times were 380, 440-450, 480, and 540ms. This is the primary delay time you hear in the song. 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. It is meant to simulate the sound of old analog tape delays as they aged. E.g the RATE for most settings had been about 22 more clockwise (slightly faster sweep) on the Wall compared to the Animals tour. All of the settings for this tone can be found in this PDF download below. For The Wall he switched to the MXR Digital Delay for those accurate and pristine time setups. The Tone From Heaven: SETTINGS solo: 380ms -- feedback: 5-6 repeats, Marooned - 1994 live version: solos 2/3: Delay 1 = 360ms / Delay 2 = 650ms, Coming Back To Life - 2006 live version: I believe that every music school should analyse Pink Floyds music, as theres so much to learn from it. Syd's theme: 370ms and 480ms delay 1: 250ms 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 exact delay times would be 450ms for the 3/4 time and 600ms for the 4/4 time. That's another one of the personal esthetic judgments that you use in trying to get something to sound nice to yourself. 430ms, Faces of Stone - 2015/16 live version: - Phil Taylor, David's backline tech. The notes fade in and out, like a pedal steel guitar. 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. delay 1: 380ms -- feedback 10-12 repeats - delay level: 95% -- delay type: digital You can also do the volume swells with the guitar volume knob, although it is much easier with a volume pedal. 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. 240ms and 165ms actually sound more like David's delay times, but there are other times that have the same feel. Adjust the tone to suit your amp/speaker tone. middle section: 1000ms -- feedback: 4-5 repeats 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. I have occasionally used spring reverb from an amplifier, but set very low so there is just a hint of that sound. Make David Gilmour's Shimmering Sustained Delay in Live. 4. Let's do some "Echorec math." 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. Flashback/David Gilmour | The Gear Page I don't care how I get it. 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. 350ms, Breathe - studio version (several duplicated multi track recordings offset to create the long delay repeats): 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. When playing alone, I find I often turn the delay volume down, but with a band or backing track I turn it up. I was able to dismantle them, put them back together, and change the head positioning. The delays are set in series like this: Digital delays are cleaner and sharper sounding, more like an exact repeat of the original dry sound. If you have different subdivision settings on your delay, you can then try some of those as they will also be in time with the song tempo. Potent Pairings: Achieving the Tones of David Gilmour I use a compressor or a Tube Driver for this. Delay settings - Tony Samperi Most analog type delays have a lower quality repeat decay that rolls off more high end on each repeat. 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. Run Like Hell Demo Instrumental - excerpt from The Wall demos, Run Like Hell - extended intro from the long version of the original studio recording - one guitar in L channel and one in the R. Run Like Hell R channel - same as above, but just the R channel so you can hear just a single guitar playing the riff. 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. There is also the "modulation" factor which is a common feaature on modern analog and digital type delays. By porsch8 December 21, 2005 in Effects and Processors. 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. Best Delay pedal for tones ala David Gilmour? - My Les Paul Forum I use the Tremotron from Stone Deaf Effects for this. 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. Note that David Gilmour varied his settings. Other than a few instances like that, reverb from David rig was not used and I do not recommend it. It's a beautiful sound, but David did not use tape delays like this. alternate 2nd Solo: (start of unison bends after ball opens) Delay 1 = 540ms / Delay 2 = 730ms, Comfortably Numb - 2006 OAI Tour: On the extremely rare occasions that David did use mulitple heads it was usually position 7, which was Head 3 + Head 4, 225ms + 300ms. As the song plays on I dial the delay volume and number of repeats higher and higher. SHINE ON YOU CRAZY DIAMOND 1-5 settings. All rights reserved. solos: 660ms -- feedback: 6-7 repeats, Time: It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. Unless otherwise noted, all delay times are shown in quarter notes 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 slide parts were made up of several multi tracked recordings, each playing slightly different, but similar phrases. Below is an excerpt of David's bass guitar part, extracted from the 5.1 surround mix of Meddle. What delay pedal does David Gilmour? There is a 440ms delay on the guitars in the studio recording. intro: 440ms Plate reverb is far more accurate. The third and final (that we know of) delay he usd was the TC Electronic 2290 rack unit. He is also known for using the legendary Proco Rat and MXR Phase 90. The 3/4 time delay is 380ms and the second 4/4 delay time is 507ms, or one repeat on every quarter note (one beat). He used three delays there, but again, I can only distinctly hear two. Example: You determine the 4/4 beat/song tempo is 600ms. It created a unique stuttered stacatto rhythm. 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. Dave Gilmour Amp Setting - Ultimate Guitar I set the vibrato to more or less the same tempo as the delay. THE BOSS DD-2 DELAY - 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. 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. BREATHE and GREAT GIG IN THE SKY SLIDE GUITAR VOLUME SWELLS - Breathe from Dark Side of the Moon features some beautiful David Gilmour slide guitar work. Set the value to quarter notes, enter the BPM, and you have a delay time in milliseconds the same tempo as the song. Later versions of the DD-3 have different circuits. RUN LIKE HELL - This is one of the standout tracks from Pink Floyd's The Wall double album, with music written by David Gilmour. CATALINBREAD ECHOREC - One of my favorite simple Echorec style delays is the Catalinbread Echorec. What is interesting about this performance is that it is probably the only time David is known to have used a tape delay. Find the song tempo delay time as described above, so your delay is making one repeat per song beat, exactly in time with the beat. This gives the impression of a 920-930ms delay. This is something us Gilmour fans have sought to recreate in our own playing. 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. a`Its very reliable, just like the MXR, but its much more versatile and teachable. David used various Echorec models but he was most known for using the Echorec 2 model T7E. 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. The Blue - 2016/15 live version: Another option is to run two delay pedals simultaneously. There are several reasons. 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. David Gilmour Tone Building- Signal Chain Order - Kit Rae 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. If you have a clean amp, some settings to start with would be: Gain: 3 Treble: 7 Mids: 7 Bass: 6 Reverb: 5-6 As an Amazon Associate, we earn from qualifying purchases. second solo: 460ms -- feedback: 5-7 repeats, Dogs: verse/chorus sections: 310ms -- feedback: 3-4 repeats Unfortunately the Catalinbread Swell control cannot be set as high as it needs to be for the Time intro, but it gets close. 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 MIMIC AN ECHOREC - David stopped using the Echorec live after 1977. POWER BOOST PLACEMENT - The Colorsound Power Boost was an overdrive that David used throughout the 1970s. Run Like Hell - Delay Rhythm Guitars Mixed Up Front - both channels, Run Like Hell - Sustained Chords Mixed Up Front, Run Like Hell - Verse Fills Mixed Up Front, Run Like Hell Live Excerpts - from Is There Anybody Out There - The Wall live 1980-81, David Gilmour live in 1984, the Delicate Sound of Thunder, and Pulse. Head 2 = 150ms (or 75ms x 2)..Head 2 = 190ms (or 95ms x 2) HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? Two delays running at different times fill in gaps between delay repeats, making the delay sound smoother with less obvious repeats. What is interesting about this performance is that it is probably the only time David is known to have used a tape delay. The main rythm in the left and right channels of the studio recording is domantly the 3/4 time. Delay Time: Shown in milliseconds. extended version solo: 430ms, Rattle That Lock - 2016/15 Live version: You can simulate the amp tremolo with just about any tremolo pedal or tremolo amp with a square wave shape. 2nd delay 570ms. rhythm and solo: 460ms, Brain Damage - Pulse version (TC2290 Digital Delay): - David Gilmour from Guitar for the Practicing Musician, 1985. There are times when I have both running at the same time for certain effects. For example, take 450ms divided by 3 = 150ms. - In general, no - but sometimes, yes. One of These Days - 294ms delay + vibratto. 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. Verse / Chorus : TC 2290 Digital Delay: 430ms This 3/4 and 4/4 delay can be used for more than just some Echorec effects. As the magnetic tape began to wear out and stretch over time, the repeats would start to degrade and sound dirty and warbly. Posted December 21, 2005. porsch8. But fear not, if you want a semi-authentic Echorec experience, Catalinbread makes an Echorec pedal that sounds very close to the original. It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. 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): I change my echo settings fairly often in concert. 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. 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. The secrets behind David Gilmour's tone on Pink Floyd's Comfortably It is impossible to achieve the exact same tone as a player without using the same equipment. solo (Pulse): 490ms, Astronomy Domine - Pulse version (MXR Digital Delay System II for solo) David Gilmour Lead Guitar Tone Tutorial - Time - GuitarLessons365 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. Guida Al Setup Di David Gilmour - Giampaolo Noto 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 . If you break the beat into a four count, that second repeat would be on 4. 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. Listening to the trails specifically, something a little darker like a DM-2 would do it. The amp David used for the RLH studio recording is not known, but presumably it was a Hiwatt or Mesa Boogie Mark I. For example, 380ms is your triplet time. RLH Intro live 1984 style - Boss CS3 compressor, Tube Driver, Boss CE3 chorus, Two Boss DD-2 delays, into a Twin Reverb. 80x2 = 160. On the one hand, finally cracking one of my favourite guitar player's [] 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. Head 1 = 75ms .Head 1 = 95ms. It's actually a metallic disc that spins around. Volume 85% This creates a different bouncy feel to the delay rhythm. 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, . solo: 430ms -- feedback: 7-8 repeats - delay level: 20% -- delay type: digital, Time - 2016/15 live version: It is a great example of what David calls "triplet time" delay playing, which is actually dotted eighth notes. 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. There are numerous modern delays that try to replicate this multi-head delay sound, like the Catalinbread Echorec, Strymon Volante, and Boonar Multi-Head Drum Echo from Dawner Prince Electronics, which David himself has used. 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. Delay volume 65% Reverb was also added at the mixing desk when recording or mixing. There are many effect pedals that simulate those sounds, and those types of simulated reverbs are also usually called plate, room, or hall reverb. 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. A few of David Gilmour's vintage Binson Echorec 2 model T7E delays. 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. It was set for a light overdrive setting and was most likely an always-on pedal. And lastly, youll want to mix it surprisingly quietly. Shown below are some typical Gilmour DD-2 delay times. 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. This is actually not quarter-note triplets. For the muted rhythm part in Echoes, Program 3 is the closest, but almost any program position works as long as the delay time is set for 300-310ms. Set it to about 370 milliseconds, mix it low, and set the repeats to about 3-4 times. Program Position 3 is equivalent to Switch Position 6 on the real Echorec, which is Head 3 + Head 2. Below is a medley of David using the Echorec from 1969-1977. Its more compact, more reliable, and just easier to use. David usually used positions 1-4, for single playback repeats of heads 1-4. intro: 650ms, Coming Back To Life - 2015/16 live version: - David Gilmour, Guitar World magazine. MXR Digital Delay System II showing David's knob settings, Part of the effects rack from David's 1994 Pink Floyd tour rig with the MXR Digital Delay System II mounted in the middle, David's MXR Digital Delay System II rack unit from the On an Island tour showing a note for 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. first solo: 310ms -- feedback: 2-3 repeats. My sound has everything to do with what sounds good to me. - 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. 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. 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. La guida un lavoro in continua evoluzione ed in continuo aggiornamento. David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. Both delays are in series with the delay volume around 75% and about 9 repeats. It also stems from the fact that analog equipment is frequently much more expensive than it is worth. 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. Time intro - Isolated guitar from studio mix. From long sustained notes that seem to go on forever, to the most tasty of blues licks, his sound is instantly recognizable. The fill patterns played in the verse section sound dry, with almost no delay. It's a sort of melodic delay to use. 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). Song tempos are rarely exactly the same every performance, but the SOYCD tempo is usually around 140 bmp. The official live recordings often have an even larger delay sound than the studio versions. The first delay is definitely set to 470ms, which is the 4/4 time. David probably just uses the term triplet because what he does has a similar feel. - 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. He notoriously used a Binson Echorec for his delays, and many other vintage pedals and studio outboard gear to achieve his tone. 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. Solo (several multi-tracked guitars): main delay 312ms / second delay to simulate offset multi-tracked guitars: 440ms, Time - Pulse version (TC 2290 Digital Delay): There are several reasons. Below are settings to get that sound. David could play a chord while the delay rhythm repeated, and jump back to the delay rhythm before the repeats stopped, almost as if there were two guitars playing. 410ms: feedback: 7-8 repeats - delay level: 90% -- delay type: warm digital, Terminal Frost - 1987-89 live version: David Gilmour Delay Time Library - Kit Rae Multiply that number by 75% to get the triplet time delay. 2,434. Or you can simply multiply the 4/4 time x75% and get the same 3/4 time. I use one of their old ones most of the time because the width is narrower. delay time for both solos: 465ms or 480ms - feedback: 15-20% -- delay level: 20% (30-35% for waving part) -- delay type: digital, Comfortably Numb - Pulse version and most Division Bell tour performances: studio . That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. Using Program position 3 for that part also works.
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