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Often during the live songs that do have very loud delays, you do hear the repeats clearly. The main rhythm guitar, chords, and fills are all double tracked. You can hear this in songs like One of These Days, Short and Sweet, Another Brick in the Wall Parts I and III, Run Like Hell, Blue Light, Give Blood, One Slip, Keep Talking, Take it Back, and Allons-Y. 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. David also had an MXR 113 Digital Delay System that could do that delay time. 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. Below are some specific Gilmour settings I use. solo: 440ms. Remember that these settings should just be used as a starting point. For the modulation, I use an old green 18v Electric Mistress or a 1980s era Deluxe Electric Mistress in the big box. 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. 650ms delay first, with 2 repeats, and 1400ms delay second with 1 repeat. All these effects can be heard in most of Pink Floyds discography. Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. The Echorec playback heads were spaced so the input signal would repeat at specific intervals, adding delay repeats upon delay repeats. The third solo also sounds like it has reverb, but that sounds more like room reverb or plate reverb added in the studio. 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 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. He came up with that basic riff that we all worked on and turned into One of these Days. The delay time must also be precisely in time with the song tempo. David Gilmour is known for using his delay creatively, mostly by sort of using it as a reverb instead of it being purely an 'echo'. 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. slide guitar solos: 300ms, One Of These Days - 2015/16 live version: Unfortunately the Catalinbread Swell control cannot be set as high as it needs to be for the Time intro, but it gets close. A DD-2 was also seen in David's Medina studio around 2017. 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. Great, lets get started. It is impossible to achieve the exact same tone as a player without using the same equipment. Shown below are my Boss delay time settings to replicate the Run Like Hell band demo recording sound. 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. That equates to 428ms, which we will call the 4/4 time. solo: 680ms, Another Brick in the Wall Part 1: -, David Gilmour interview by Bob Hewitt from Guitarist, June 1986, FINDING THE "TRIPLET" TIME DELAY FOR A SONG. intro: 780ms, Coming Back To Life - Pulse version (MXR Digital Delay II and TC 2290 Digital Delay): He did sometimes use the Swell mode. slide guitar solos: 400ms, On the Run (The Traveling Section) - early live guitar version from 1972 (Echorec PE 603): I often hear a guitar recorded dry, a reverb only track, and a delay only track. David is using two delays from a PCM70 rack delay to simulate the Echorec sound. David used various Echorec models but he was most known for using the Echorec 2 model T7E. David bought an Echorec PE 603 model in 1971 that had a maximum delay time of around 377-380ms. delay 2: 375ms, Run Like Hell - two guitars multi-tracked (delay used was likely the MXR M113 Digital Delay): #4. For example, take 450ms divided by 3 = 150ms. I use the Tremotron from Stone Deaf Effects for this. 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. If you have a subdivisions setting (quarter notes, eighth notes, dotted eighth notes, et cetera) set it to quarter notes, or the normal setting. In this example I am showing how just using a single triplet 330ms delay is sufficient for this effect, but a second 4/4 feeling delay of 440ms or even a double triplet delay time to 660ms, could be added to enhance the space. 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. 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. Below is a medley of David using the Echorec from 1969-1977. There is a also bit of light overdrive in the tone. delay 1 time: 90ms - In general, no - but sometimes, yes. 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. From the 1972-74 period he used the PB first in line in the signal chain for his live rigs. The mode should always be set at 800ms, unless you want a short slapback delay for something like the dry solo in Dogs. POWER BOOST PLACEMENT - The Colorsound Power Boost was an overdrive that David used throughout the 1970s. You could get some wonderful delay effects that aren't attainable on anything that's been made since. These were state of the art delays at the time, but were rather noisy effects compared to modern digital delays. It only added a very slight gain boost to his clean amp tone, but . As technology was progressing, the use of rack effects units became more and more efficient. He did sometimes use the Swell mode. Delay times vary by song but anything between 300mms and 600 makes a decent one size fits all. Or you can simply multiply the 4/4 time x75% and get the same 3/4 time. Fine tune it until you hear the repeats are exactly in sync with the song tempo. Make David Gilmour's Shimmering Sustained Delay in Live. 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. Last update July 2022. 240ms and 165ms actually sound more like David's delay times, but there are other times that have the same feel. I used a Free the Tone Future Factory delay set for 300ms and long repeats. REVERB OR NO REVERB ? 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. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. 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. David would use the latter setting for most of the album. I believe that every music school should analyse Pink Floyds music, as theres so much to learn from it. This is something us Gilmour fans have sought to recreate in our own playing. Two guitars were multi tracked in the left and right channels. With regards to the actual sound of the echo repeats, there are essentially two types of delays - analog and digital. 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 . ..delay #2 MXR Digital Delay System II (switched on at start of unison bends when mirror ball opens): 720ms R channel -- 1400ms with two repeats. There is a misconception that David always used the Echorec for its multi-head function, but in reality he primarily used it in single playback head mode, just like any other typical delay. 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. second solo: 560ms -- feedback: 3-4 repeats, On An Island - 2006 live versions: - 2016/15 live version: I use the MXR Digital Delay. 4. The Blue: verse / chorus: 435ms, Wearing the Inside Out: One of the smoothest guitarists in rock, Pink Floyd's David Gilmour has built a reputation for great melodic control and an expressive soloing approach that has influenced millions. Syd's theme: 370ms and 480ms Alt. tremolo effect for middle section: 294ms delay, 7-8 repeats / tremolo with gated square wave, depth set to maximum, and speed set for Listening to the trails specifically, something a little darker like a DM-2 would do it. 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. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. They averaged from 290-310ms. The second delay David used was the MXR Digital M-113 Delay. This creates a different bouncy feel to the delay rhythm. 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. The main rythm in the left and right channels of the studio recording is domantly the 3/4 time. verse/chorus sections: 310ms -- feedback: 3-4 repeats I use the MXR with the read-out on it, so I instantly have the right tempo. solo: 560ms The most recognisable and somewhat stereotypical sound that Pink Floyd uses is their ambience. Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. The studio recording was likely duplicated and played back 440ms behind the original guitar recording to create the effect, or the mixing board was outfitted with a longer delay to create the effect in the mix. ECHOREC DELAY - David was a heavy user of the Binson Echorec from his early days with Pink Floyd in 1969 until the late 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. To get the Pink Floyd sound, you'll need to use some specific equipment and settings. 560ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Solo - Strat Pack version: 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. When the IC chips became less expensive to manufacture Boss simply rebranded it as a new, lower priced version rather than lowering the price of the DD-2. Use the feedback option to set it right where you think it sounds closest. 570 x 75% = 427.5. - David Gilmour from Guitar for the Practicing Musician, 1985. If you want to use a noise gate put it right before the delay/reverb. The simplest option is to use an online Beats Per Minute caculator, like, - 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. 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. It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. The tremolo is from an HH IC-100 amp was used for the studio recording. 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. The delay was such an integral part of their sound, then almost any Pink Floyd song wouldnt sound complete without Davids signature delay sounds. Because later in his carreer David often used both a 3/4 delay, or what he calls a "triplet", and a 4/4 delay simultaneously, mimicking the sound of Heads 3 + 4 on the Echorec. 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. David Gilmour adjusting his MXR rack effects from April 1984, including the MXR 113 Digital Delay, and MXR Digital Delay System II. 310ms -- feedback: 3-4 repeats alternate 2nd Solo: 540ms When I'm recording I'll often set them in tempo to the track, so although they are just acting as an echo, the echo is rhythmic in away and has a triplet and the 4/4 beat in it. The IC-100 tremolo was set to maximum depth and the trem speed was set so there are two pulses for every delay repeat. 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. Head 2 = 150ms (or 75ms x 2)..Head 2 = 190ms (or 95ms x 2) You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms). outro solo : 550ms -- feedback: 3-4 repeats, Take It Back: There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. The Boss LS-2 Line Selector, Xotic Effects X-Blender, Lehle Parallel, and Badger Schism are a few that do the job. 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. The early Boss DD-3 pedal had exactly the same circuit as the DD-2. David Gilmour Solo Tone Settings For "Time" . If your delay does not have a dry defeat feature, it is pointless to use in a parallel setup. We are a participant in several affiliate programs including but not limited to the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for us to earn fees by linking to Amazon.com and affiliated sites. David played the first bass guitar you hear and Roger Waters played the second that comes in immediately after. He became known for this effect as he used it for his guitar solo in practically every queen concert. David Gilmour is known for using his delay creatively, mostly by sort of using it as a reverb instead of it being purely an echo. 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. This website is frequently updated. Using two delays to simulate the multi head Echorec effect, Below is an example from 2016 of David Gilmour using three delays to simulate the Echorec sound in, - One of the first recorded uses of Gilmour's "triplet" delay technique using a Binson Echorec was in the song, - This is one of the standout tracks from Pink Floyd's. 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. outro arpeggio riff: 310ms, Shine On You Crazy Diamond VI-IX (Binson Echorec): The TC Flashback can be set up with the Tone Print edito. A Great Day For Freedom - Pulse version (TC2290 Digital Delay): Another Brick in the Wall Part II (live): Any Colour You Like - 1994 live versions: Astronomy Domine - Pulse version (MXR Digital Delay System II for solo). 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. For the delay, my favorite for this song is the old Boss DD-2, but any good digital delay will work. Play the note, let it repeat, then play the note a second time where the 1400ms repeat would be. Verse / Chorus : TC 2290 Digital Delay: 430ms 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. bass guitar rhythm delay (two bass guitars): 294ms, 7-8 repeats volume swells in lords prayer section: 340ms -- feedback: 8-9 repeats second solo: 750ms -- feedback: 4-5 repeats, Comfortably Numb - MLOR tour: See all posts by Andrew Bell. The SELECTOR knob had three positions: ECHO = one repeat, REPEAT = more than one repeat, and SWELL = outputs of the playback heads were fed back to themselves to create a spacey type of reverb effect. It was strange because it didn't utilize tape loops. 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. 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. - 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. A large part of that comes from Davids use of delay. solos: 300ms -- feedback: 3-4 repeats - delay level: 15% -- delay type: analog Some duplicate the studio album delay times and some duplicate the live delay times. intro: 650ms, Coming Back To Life - 2015/16 live version: 440ms -- feedback: 4-5 repeats, No More Lonely Nights: intro and verse volume swells, first solo: 620ms -- feedback: 6-7 repeats The SDE 3000 was set for a 1500ms delay, giving approximately 20-30 seconds of regenrated delay repeats. The best representation of this is a 340ms delay set for 3-4 repeats, On An Island: If you want to try the two-delay effect on one amp, it is best to place the second delay after the main 380ms delay in your signal chain, and set the second delay repeat volume MUCH lower, with roughly 1/3 the repeats of the main delay. extended version solo: 430ms, Rattle That Lock - 2016/15 Live version: Its hard to give an estimate as every pedal will respond differently. The settings Gilmour uses usually create a minimal effect, but his sompressors really helps to smooth out the tone and playing. third (dry) solo: simulate studio ADT with a 40-50-ms slapback delay -- feedback: 1 repeat Note or mark that time setting on your delay. Heavy reverb. David almost always uses delays in his live rigs, not reverbs. Great Gig Slide Guitar Breakdown. solo: 530ms -- feedback: 5-6 repeats, 5 A.M. 2015/2016 live version: Just get any old delay pedal, analog or digital, and set the time slow. The amp David used for the RLH studio recording is not known, but presumably it was a Hiwatt or Mesa Boogie Mark I. 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. This 3/4 and 4/4 delay can be used for more than just some Echorec effects. Some are actually too high quality for my personal taste. Below is an example of the Syd's Theme section of Shine on You Crazy Diamond from Pink Floyd's 1994 tour. verse / chorus: 430ms, Us and Them - 2016/15 live version: verse, solos: 450ms, Learning To Fly - Pulse version: outro solo: 680ms -- feedback: 4-5 repeats. 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. David Gilmour is famous for his unique use of delay and echo. 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%. solo: 420ms Record yourself playing alone verses playing along with a backing track to see what I mean. 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. 430ms, Faces of Stone - 2015/16 live version: 530ms -- feedback: 4-5 repeats, Coming Back To Life: 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. Every aspect of his tone can change on different albums, even on different tracks of the same album! Below is a breakdown switching between the various tracks of all three solos. That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. 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. There are several reasons. There are several parallel looper pedals that can be used for the actual "looping" part of the setup. The second delay is set for 254ms, 1 repeat, with the delay volume set at 50%. 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. 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. I use the MXR with the read-out on it, so I instantly have the right tempo. 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. 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. David probably just uses the term triplet because what he does has a similar feel. That may be just my fantasy; I don't know. Again, I'll simulate that with only two dominant delays. Some delays that can do this are the Boss DD2/3, TC Electronics Nova Delay, Providence Chrono Delay, Boss DD20, Free The Tone Flight Time, Eventide Timefactor, Strymon Timeline, Empress Super Delay, EHX Deluxe Memory Man, TC 2290, MXR Delay System II, and many others. - Boss CS-2 and Dyncomp compressors first, then CE-2B chorus in left channel added, the delay added, then plate reverb added. 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. buildup and arpeggio delay time: 300ms -- feedback: 7-8 repeats - delay level: 40% -- delay type: analog, Echoes - live Gdansk Version: The best way I have found to create the smoothest delay is to simply set it in time with the song tempo. The first Money solo, for example, sounds like it is awash in spring reverb. 234ms and 150ms also works. He has used this type of setup in his 1987-89 rig, his 1994 rig, and in his 2006 On An Island tour rig. Listening to this track helped me realize how delay and reverb trails interact with what I'm playing in a way that makes unintended diads that could . solos 2/3: Delay 1 = 360ms / Delay 2 = 650ms, Coming Back To Life - 2006 live version: So why don't you hear the repeats most of the time? The second delay should just be accenting the first, filling the space between the 3/4 repeats. Volume 85% It has a certain feel, which sounds boring and ordinary if you put it in 4/4. For The Wall he switched to the MXR Digital Delay for those accurate and pristine time setups. - David Gilmour, Guitar World magazine. Most analog type delays have a lower quality repeat decay that rolls off more high end on each repeat. second solo: 370ms -- feedback: 7-8 repeats -- delay level: 20% -- delay type: analogSyd's theme: 290ms -- feedback: 7-8 repeats - delay level: 20% -- delay type: analog Set it to about 370 milliseconds, mix it low, and set the repeats to about 3-4 times. Time intro - Torino, Italy, Sept 13, 1994. 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. Mar 8, 2013. delay 2 time: 1100ms -- feedback: 1 repeat - delay level: 10% -- delay type: warm digital, Today - 2016/15 live version: solos: 440ms -- feedback: 7-8 repeats - delay level: 15% -- delay type: analog He used three delays there, but again, I can only distinctly hear two. first solo: 507ms -- feedback: 2-3 repeats To get the second delay in 4/4 time, multiply 150 x 4 = 600ms. April 9, 2022. by Joe Nevin. Below is a song-by-song list of delay times with some settings. rhythm/verse/chorus sections: 340ms -- feedback: 3-4 repeats WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? DELAY TYPES - ANALOG AND DIGITAL - David has used numerous types of delays in his carreer, both analog and digital. It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. Those are not the type of parallel setup we are talking about here. DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms.

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