One day, Roger decided to take some of the techniques that I was developing and try them out himself on bass. Gilmour used the same 294ms delay from the Echorec plus the built in vibrato from an HH IC-100 amplifier, which was a very choppy tremolo effect. 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. delay 2: 375ms, Run Like Hell - two guitars multi-tracked (delay used was likely the MXR M113 Digital Delay): studio album solo: 275ms Two delays running at different times fill in gaps between delay repeats, making the delay sound smoother with less obvious repeats. The third solo also sounds like it has reverb, but that sounds more like room reverb or plate reverb added in the studio. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. 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%. He used analog delays like the Binson Echorec throughout the 1970s and one has been seen in his Medina studio from 2013-2017. Then go to a website with a Delay Time Calculator, like the one on this page. The delay time on head 4 was approximately 300ms, but it could vary depending on the mains voltage. Only the 100% wet delayed signal was returned from those two delays, into a mixer where the two were blended back with the dry signal before going to the amps. 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. 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). Members; porsch8. 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. Breathe Intro Using One Delay - One 440ms delay with 4-5 repeats also works well. That came from an old trick I'd been using, which is having a DDL in triplet time to the actual beat. I use one of their old ones most of the time because the width is narrower. Give Blood There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. I have a slight roll off of the high frequencies on the repeats to mimic the Echorec sound. The Echorec playback heads were spaced so the input signal would repeat at specific intervals, adding delay repeats upon delay repeats. Great Gig Slide Guitar Breakdown. 650ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Intro / Outro - Pulse version (TC 2290 Digital Delay): 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. WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? It's actually a metallic disc that spins around. Dan's Pick No.1: Pro-Co RAT (79) David Gilmour, or Dave to his friends, has had a constant development of tone over the four decades he's been knocking around making classic album after classic album. 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. delay 2 time (second delay ADT effect): 80ms -- feedback 2-3 repeats - delay level: 30% -- delay type: digital, Sheep - 1977 live version: David often uses long echo delays to help create a his big, smooth, and liquidy solo tones. The third solo is also artificially double tracked, which you can simulate with a short 60-90ms slapback delay with one repeat. It also had delay width and frequency knobs in the Sweep section to add some chorus, vibratto, and flange effects, but I think David rarely used those, if ever. Solo: 300ms. 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 . David Gilmour's delay sounds - YouTube 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 david gilmour delay settings | London Guitar Academy Echorec 2 ..Echorec PE 603 There are a few occasions where I have heard spring reverb in a Gilmour recording, but it is very rare. delay 1 time (main delay): 380ms -- feedback 8-10 repeats - delay level: 95% -- delay type: digital - David Gilmour interview by Bob Hewitt from Guitarist, June 1986. With that said, the rest of the article is designed to . I am talking about the natural reverb sound of the room or hall the amplifier or speaker cabinet was recorded in, or studio reverb added to simulate it. In live performances he usually used playback Head 4 for the maximum delay time of around 300ms. . . In some of the studio recordings you are hearing the guitar delay and room sound or studio reverb, not just delay. 380ms -- feedback: 3-4 repeats, On The Turning Away - 1991 live Amnesty International Big 3 O version: Some duplicate the studio album delay times and some duplicate the live delay times. 3. delay 1 time: 430ms -- feedback: 5-7 repeats - delay level: 30% -- delay type: warm digital The last 8 minutes of the song is a rambling collage of echo repeats. 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. 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. 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. third (dry) solo: simulate studio ADT with a 40-50-ms slapback delay -- feedback: 1 repeat The main rhythm guitar, chords, and fills are all double tracked. On Reverb, the average Echorec sells for between 3500$ to 5000$. Both types have been described as "warm" sounding, which can get confusing. verse/chorus sections: 310ms -- feedback: 3-4 repeats, Shine On You Crazy Diamond I-V - 1987-89 live version: 430ms, Faces of Stone - 2015/16 live version: By porsch8 December 21, 2005 in Effects and Processors. 147ms (2X the delay repeats), or 2 pulses for every delay repeat. 2nd delay 570ms. Example: You determine the 4/4 beat/song tempo is 600ms. David and Roger Waters each had one of these amps but I think the only other recorded example of it being used was for the BBC performance of Embryo in 1968. The plate reverb sound is the best to use for Gilmour tones in my opinion, but minimally. Delay volume 90%. 520ms -- feedback: 5-6 repeats - delay level: 20% -- delay type: analog, Money solos- Pulse version (TC2290 Digital Delay): - 2016/15 live version: 540ms, Take A Breath: I use several of the Program Select positions for various other things, but for Gilmour it's usually just position 1, 4, and 3. intro and verse volume swells, first solo: 480ms -- feedback: 6-7 repeats Note that reverb from a pedal in a guitar signal chain before the amp can never sound exactly the same as reverb added to recording at the mixing desk, or mixed in later after the recording has been made. Time intro test with backing track - 470ms and 94ms. In this clip I'm using Coming Back to Life as a reference with 700ms. 1st delay 240ms. solo: 580ms, On The Turning Away - Pulse version (TC 2290 Digital Delay): For example, I compared the 5.1 surround sound mix of the second On an Island solo with the solo in Castellorizon (from David's 2006 On an Island album). 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. It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. 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. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. *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! THE RULING CASTE: IMPERIAL LIVES IN THE VICTORIAN RAJ By David Gilmour 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. 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. Last update July 2022. delay 2 time: 360ms, Us and Them - Pulse version (TC 2290 Digital Delay): Electric Mistress - How to use it - Settings In the studio recording I hear one guitar playing the single note triplet time rhythm, a second guitar playing the fills, and a third guitar playing occasional accents on top of the fills. solo: 680ms -- feedback: 1 repeat - delay level: 30% -- delay type: digital. The mode should always be set at 800ms, unless you want a short slapback delay for something like the dry solo in Dogs. First is the delay, then the square wave tremolo, then both together. Here is a clip of a single 330ms delay playing the Blue Light riff. slide solo: The Blue: Andrew Bell has 42 posts and counting. Below is my best guess at the delay times David used there. 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 TC Flashback can be set up with the Tone Print edito. You can also add a second delay in series to thicken the sound, combining the 3/4 time with a 4/4 time delay. If using a 2 amp setup, you can try running one 380ms delay to each amp and keep the volume and delay repeats about the same for each, or you can run the 380ms delay to one amp and the 507ms dealy to the other for a slightly different feel to the stereo separation. On the one hand, finally cracking one of my favourite guitar player's [] Theyre so famous they sell for a very high price and are deemed a collectable for many. Comfortably Numb: delay 2: 430ms, In Any Tongue - 2015/16 live version: 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. The official live recordings often have an even larger delay sound than the studio versions. This is actually not quarter-note triplets. 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. The type of multi-head repeats varied depending on which of the four playback heads were selected. 614ms -- feedback: 6-7 repeats, Rattle That Lock: As the song plays on I dial the delay volume and number of repeats higher and higher. Dec 23, 2015. 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. Below are examples of a few ways to set up the type of parallel signal chain used in Gilmour's rigs. A single delay set at 1400ms with 3 repeats has a similar feel as well. Volume 85% Unfortunately the Catalinbread Swell control cannot be set as high as it needs to be for the Time intro, but it gets close. David Gilmour Tone Building - Kit Rae If running the delays parallel, set for about 12 repeats on each. 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. That second delay should just barely be audible, as too much volume can make a double tapped mess of the main delay. I am not talking about spring reverb from an amp. verse / chorus: 430ms, Us and Them - 2016/15 live version: Delay volume 50%. A) All those pictures out there of David Gilmour's tours have the settings knobs shown, but you can not go by that and insist it is bible. Plate reverb is far more accurate. The early Boss DD-3 pedal had exactly the same circuit as the DD-2. The PE 603 Echorec had similar controls, but rather than having a switch to select different combinations of the four playback heads, it had individual switches for each head. The second delay should just be accenting the first, filling the space between the 3/4 repeats. Verse / Chorus : TC 2290 Digital Delay: 430ms The second is around 94ms, which is 1/5 of 470 (470/5=94). 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. Dave Gilmour Amp Setting - Ultimate Guitar NOTE: This website is frequently updated. 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. Below is a breakdown of how to play this effect. 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 1: 430ms -- feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. The Echorec 2 had a 12 position switch to select among various combinations of heads. Kits Secret Guitar, Gear, and Music Page. Note or mark that time setting on your delay. - Be sure to read the section above. 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. 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 You could nail his famous sound with a handful of pedals, though, which makes it that much more achievable. 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. For Run Like Hell, David's using what he refers to as "triplets".. 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 solos: 300ms -- feedback: 3-4 repeats - delay level: 15% -- delay type: analog