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It's all on a D pedal. It is impossible to achieve the exact same tone as a player without using the same equipment. Then I play just the muted note rhythm so you can hear what it sounds without the delay, then I turn the delay on while playing. Sort of a triplet on top of a triplet time delay. Below is an excerpt of David's bass guitar part, extracted from the 5.1 surround mix of Meddle. 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. The long delay, and multi tracked guitars add to the smooth, lquid feel of the notes. Listening to the trails specifically, something a little darker like a DM-2 would do it. Find many great new & used options and get the best deals for THE RULING CASTE: IMPERIAL LIVES IN THE VICTORIAN RAJ By David Gilmour **Mint** at the best online prices at eBay! Listen to some of the 5.1 live tracks separately and you can clearly hear this. If you have a clean amp, some settings to start with would be: Gain: 3 Treble: 7 Mids: 7 Bass: 6 Reverb: 5-6 Head 4 = 300ms (or 75ms x 4) .Head 4 = 380ms (or 95ms x 4) 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. Let's see some of the units he used over time. There is also the "modulation" factor which is a common feaature on modern analog and digital type delays. I list a number when I can clearly hear them, otherwise 4-5 repeats is usually close. There is a also bit of light overdrive in the tone. If you set it too high it will self oscillate into a whining feedback. He notoriously used a Binson Echorec for his delays, and many other vintage pedals and studio outboard gear to achieve his tone. DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. For The Wall he switched to the MXR Digital Delay for those accurate and pristine time setups. David probably just uses the term triplet because what he does has a similar feel. 1st solo: 310ms 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. second solo: 660ms -- feedback: 5 repeats, Comfortably Numb - 2015/16 RTL Tour: CATALINBREAD ECHOREC - One of my favorite simple Echorec style delays is the Catalinbread Echorec. They averaged from 290-310ms. There are many effect pedals that simulate those sounds, and those types of simulated reverbs are also usually called plate, room, or hall reverb. The first Money solo, for example, sounds like it is awash in spring reverb. Program Position 5 is equivalent to Switch Position 7 on the real Echorec, which is Head 4 + Head 3. 520ms -- feedback: 5-6 repeats - delay level: 20% -- delay type: analog, Money solos- Pulse version (TC2290 Digital Delay): Find the proper delay time for the song as described above, then let's do some "Echorec math". The level or volume knob would be set to maximum on most delays for this. 8-10 repeats on each. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. David would use the latter setting for most of the album. Instead, it used a metal recording wheel. 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. 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. 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. 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. 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): Most analog type delays have a lower quality repeat decay that rolls off more high end on each repeat. 1978 and on: digital delay, several stompboxes and rack units used (Boss, TC, MXR, Lexicon) The 2006 all tube Cornish board has a Cornish TES delay. 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. He set the time to 310ms for most everything. 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. Shown below are some typical Gilmour DD-2 delay times. Solo: 440ms ? For real room reverb, mics were placed in different parts of the recording studio to capture the room sound, not just the speaker cabinet from the amp. Gilmour delay: '60s-'70s: Binson Echorec II. David's Echoes delay time of 300ms, one for the delay in Time, and 423ms in the display. NOTE: This website is frequently updated. 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. I run it last in the signal chain and I almost always have a light plate reverb sound on when I play. 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. - Boss CS-2 and Dyncomp compressors first, then CE-2B chorus in left channel added, the delay added, then plate reverb added. Plate reverb is far more accurate. solo: 430ms -- feedback: 7-8 repeats - delay level: 20% -- delay type: digital, Time - 2016/15 live version: 5 Pedals or Less: How to Sound Like Dave Gilmour Back at it again, the hunt for tone never ends. Its a core part of Pink Floyds earlier sound, and not just for Davids guitar. You can also get something similar with one 650ms delay set for 2 repeats. It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. If running the delays parallel, set for about 12 repeats on each. As the chord rang on, David could then play the melody lines through his main Hiwatt. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. 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. 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. The second delay should just be accenting the first, filling the space between the 3/4 repeats. I use one of their old ones most of the time because the width is narrower. 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. With that said, the rest of the article is designed to . The Binson Echorec is an analogue echo unit made by Binson in Italy. One of the ways to do that, is by using your effects creatively, just as he does. solo: 400ms, Raise My Rent: The repeats are bright and shimmery but not brighter than the original signal. 80x2 = 160. If you put it in a 3/4 time it has an interesting bounce to it. The type of multi-head repeats varied depending on which of the four playback heads were selected. 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. There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment. The third and final (that we know of) delay he usd was the TC Electronic 2290 rack unit. He came up with that basic riff that we all worked on and turned into One of these Days. The Echorec 2 had a 12 position switch to select among various combinations of heads. This way the echo repeat from one delay is not repeating the echo repeat of the other, and the original guitar signal is kept pristine rather than altered by going through two different delays. outro solo : delay 1 = 1000ms -- feedback: 1 repeat / delay 2 = 720ms -- feedback: 3-4 repeats, Take A Breath 2006 live versions: The amp David used for the RLH studio recording is not known, but presumably it was a Hiwatt or Mesa Boogie Mark I. Sometimes he even uses two delays at once to create certain double tapped echo effects or to make a solo sound bigger. 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. Time intro - Torino, Italy, Sept 13, 1994. Just get any old delay pedal, analog or digital, and set the time slow. Its more compact, more reliable, and just easier to use. The main rhythm guitar, chords, and fills are all double tracked. If you adjust the delay time in that in-between zone while listening to the song, you will hear when it is right in 3/4 time. DELAY TYPES - ANALOG AND DIGITAL - David has used numerous types of delays in his carreer, both analog and digital. 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. 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. E.g the RATE for most settings had been about 22 more clockwise (slightly faster sweep) on the Wall compared to the Animals tour. Two guitars were multi tracked in the left and right channels. NOTE: This website is frequently updated. For his 2015 tour he used a Providence Chrono Delay and two Flight Time delays. The S-O-S rig allowed him to play sustained chords on the guitar which he could then play melody on top of. 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. The slide parts were made up of several multi tracked recordings, each playing slightly different, but similar phrases. 500ms -- feedback: 5-6 repeats. analog gear was not as good as digital at the time, so the belief that analog is always better than digital arose. David Gilmour used the MXR Digital M-113 Delay, the Binson Echorec, and the TC Electronic 2290 in his recordings. 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. tremolo effect for middle section: 294ms delay, 7-8 repeats / tremolo with gated square wave, depth set to maximum, and speed set for first solo: 310ms -- feedback: 2-3 repeats. delay 2 time: 1100ms -- feedback: 1 repeat - delay level: 10% -- delay type: warm digital, Today - 2016/15 live version: To get the 4/4 time delay, simply multiply 126.7 x 4 = 506.8ms. 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 is the delay, then the square wave tremolo, then both together. If the repeats are slower, reduce it. 520ms -- feedback: 4-5 repeats, Obscured by Clouds: Read an explanation about how this is achieved here. It created a unique stuttered stacatto rhythm. It is not known exactly which delay David used for the sudio recording of Run Like Hell, but I do not think he used his Binson Echorec for the main delay. Let's do some "Echorec math." for a song-by-song list of Gilmour's delay times, but it is easy to find a delay time that works with a song tempo, even if you can't clearly hear the echo repeats when listening. 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. Copyright Kit Rae. solo (Pulse): 490ms, Astronomy Domine - Pulse version (MXR Digital Delay System II for solo) Pink Floyd's "Shine On You Crazy Diamond" is a classic, thanks in large part to David Gilmour's otherworldly guitar playing. David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. extended version solo: 430ms, Rattle That Lock - 2016/15 Live version: WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? His talent doesnt just limit to his skill, but also to his creativity. That is an example where David seems to have set the delay speed by ear, rather than going by an exact Echorec formula. This obviously means that a lot of guitarists want to be like him. Delay Type: Analog delays are warm sounding, with repeats that are softer sounding than the original note due to a high end roll-off. 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 specific delays he used were as I said the Binson Echorec, the MXR M-113 Digital Delay, and the TC Electronic 2290. His final delay was the TC Electronic 2290. Money solo - studio version - multiple guitar tracks were recorded with different delay times (Binson Echorec 2 and Binson PE603): I also use it to add some of the bigger room and concert hall sounds. This website is frequently updated. 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. - David Gilmour, Guitar World March 2015, As I recall, he (David) used a Hiwatt stack and a Binson Echorec for delays. I use 240ms. >> Click to read more <<. I use the MXR Digital Delay. From long sustained notes that seem to go on forever, to the most tasty of blues licks, his sound is instantly recognizable. delay time for intro and verse slide guitar: There are three different delay times on the repeats and they are slightly offset, Dave likes it because even though it's a digital unit, it still sounds a little dirty, like a tape unit. 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. Gilmour used the TC Electronic 2290, but any digital delay will do. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. rhythm and solo: 460ms, Brain Damage - Pulse version (TC2290 Digital Delay): Both delays are in series with the delay volume around 75% and about 9 repeats. 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. 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. For example, take 450ms divided by 3 = 150ms. Getting an original Binson Echorec these days is nearly impossible. 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. On Reverb, the average Echorec sells for between 3500$ to 5000$. solo: 475ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Hey You - Pulse version (TC 2290 Digital Delay): It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. It features two separate bass guitar tracks played in time with a single head delay (head 4) from the Echorec. 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. HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? solo: 380ms -- feedback: 5-6 repeats, Marooned - 1994 live version: - David Gilmour. He usually had the time set to 440ms. And lastly, youll want to mix it surprisingly quietly. His tone is instantly recognizable and unique. It's actually a metallic disc that spins around. Some duplicate the studio album delay times and some duplicate the live delay times. REVERB OR NO REVERB ? Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. An examination of the individual tracks from some of the 5.1 surround sound studio album releases reveals both were used. The delay was such an integral part of their sound, then almost any Pink Floyd song wouldnt sound complete without Davids signature delay sounds. 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 . This is a big part of Pink Floyd's sound. delay 2: 430ms, In Any Tongue - 2015/16 live version: This is actually not quarter-note triplets. 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. David would play a two note chord, then fade the volume in as he slides to the next position. Treble: 4-5. Both in the studio and live their musicality seeps from every note, every rest, and every beat. On the left is my standard setting range for the early 1970s Gilmour Echorec sound. Below is an example using two digital delays in series. Alternate (Pulse): Delay 1 = 430ms / Delay 2 = 1023ms, Hey You: As technology was progressing, the use of rack effects units became more and more efficient. The third delay is probably in 3/4 time, but I can barely hear it. It sounds very complex because the delay is filling in and creating a rhythm in between the notes David plays, but it is actually rather simple to do. The other delay is set in 4/4 time (quarter notes) at 507ms, or one repeat on every beat. As I said before, he often doesnt just use the delay to make his solos fit in the particular vibe of the song, but also the help build the rest of the soundscape. alternate 2nd Solo: 540ms I turn each effect on one at a time so you can hear how they add to the tone. I use several of the Program Select positions for various other things, but for Gilmour it's usually just position 1, 4, and 3. 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. 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. Often what I hear in the recordings is just natural room or hall reverb. A little later he switched to the MXR Digital Delay. Solo: 430ms, Fat Old Sun- 1971/72 live versions: fourth solo: 40-50-ms slapback delay -- feedback: 1 repeat, Echoes Again, if you mute pick with the repeats set almost infinite, the repeats will be perfectly in time with the song beat on every 5th repeat. David maintained his Echorecs well and replaced them often however, so his sound only had minimal high end roll-off in the repeats. The primary delay sounds best when in time with the heartbeat tempo in Time, usually somewhere around 240 - 250BPM (beats per minute). This was most likely a reel-to reel recorder set up for a tape-loop delay. Tweaking the delay time was simply more tweakable on the MXR Digital Delay. Free shipping for many products! intro: Alan Parsons has said David was generating all the effects himself for the first solo, so this was probably spring reverb from the Twin Reverb David had in the studio. 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. Regardless, it is the combination of both delay and reverb that makes the delay sound so smooth in some instances. It had a maximum 16kHz bandwidth up to 800ms, with a maximum delay time of 1600ms, expandable to 3200ms. I use two delay pedals for Run Like Hell. 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. 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. 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. 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. 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. REEL-TO-REEL SOUND-ON-SOUND - David did an early version of sound-on-sound way back in October of 1970, in one of the few times Pink Floyd performed Alan's Psychadelic Breakfast live. I used a Free the Tone Future Factory delay set for 300ms and long repeats. Too much can severely alter your guitar tone before it hits the amp, washing out the definition and clarity. a`Its very reliable, just like the MXR, but its much more versatile and teachable. Two delays running at different times fill in gaps between delay repeats, making the delay sound smoother with less obvious repeats. The tempo is much slower, but the delay is played in 3/4 "triplet" time, exactly like RLH. That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. ECHOREC DELAY - David was a heavy user of the Binson Echorec from his early days with Pink Floyd in 1969 until the late 1970s. 20K views 9 years ago My Delay settings for Run Like Hell as played by David Gilmour, 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! VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net. All those divisions and subdivisions will be in time with the song. I am not talking about spring reverb from an amp. The TC Flashback can be set up with the Tone Print edito. Its not a cheap pedal (around 250$ new), but its way cheaper than an original. The delay volume is often not very loud in the studio recordings, so in a full band context, the other instruments mask the repeats. These effects combined with Gilmours guitars, amps, and more importantly, his fingers, all add up to the legendary sound we love, and the signature sound that will send any 40+ year old into a state of ecstasy if it comes on the radio. Or you can simply multiply the 4/4 time x75% and get the same 3/4 time. The official live recordings often have an even larger delay sound than the studio versions. - David Gilmour, Guitar World magazine. Some of the other Program Select positions work for the Time intro too, like position 12. Delay volume 85% Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. David often uses long echo delays to help create a his big, smooth, and liquidy solo tones. 5. The volume swells can be easily created today with a delay and a volume pedal. Anyone got some David Gilmour delay settings Anyone got some David Gilmour delay settings. It takes some practice, and you have to be very precise with your timing or you can easily get out of step with the song tempo. The first delay is 380ms, 10-12 repeats, delay voume 95%. Shorter delay times are more obvious because the repeats are heard in between notes and phrases. David Gilmour was the guitarist for English rock band Pink Floyd. Blue Light Riff - with and without delay. Then go to a website with a Delay Time Calculator, like the one on this page. Sort of a triplet on top of a triplet time delay. Below are some specific Gilmour settings I use. 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. : outro solo: 680ms -- feedback: 4-5 repeats. 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. moderate reverb, probably from the plate reverbs at Abbey Road studios. third (dry) solo: simulate studio ADT with a 40-50-ms slapback delay -- feedback: 1 repeat David played the first bass guitar you hear and Roger Waters played the second that comes in immediately after. Delay Level: This is the volume level of the delay repeat compared to the original signal. 1 2. - David Gilmour from Guitar for the Practicing Musician, 1985, We also have an old MXR DDL (MXR Digital Delay System II) digital delay unit built into a rack unit. buildup and arpeggio delay time: 300ms -- feedback: 7-8 repeats - delay level: 40% -- delay type: analog, Echoes - live Gdansk Version: - first is 380ms delay in the left channel, then 380ms+254ms in the right channel. Multiply 600 x 75% to get the triplet time delay of 450ms (or divide 600 by 4 to get the quarter note time of 150ms, multiply that X3 for a triplet time, which equals 450ms). Below is a clip illustrating plate reverb from a Free The Tone Ambi Space stereo reverb pedal. The trick is not to overdo it. The other is more natural sounding because it is added post amplification, which is more like what real reverb does. A DD-2 was also seen in David's Medina studio around 2017. David Gilmour, as many guitarists will agree on, is an absolute legend. That second delay should just barely be audible, as too much volume can make a double tapped mess of the main delay.