Delay and reverb should be the last effect in the chain. 380 divided by 3 = 126.7ms. For his 2015 tour he used a Providence Chrono Delay and two Flight Time delays. So why don't you hear the repeats most of the time? The delays are set in series like this: outro: 340ms -- feedback: 3-4 repeats, Shine On You Crazy Diamond I-V (Binson Echorec): Gilmour delay: '60s-'70s: Binson Echorec II. 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). intro and verse volume swells, first solo: 480ms -- feedback: 6-7 repeats first solo: 507ms -- feedback: 2-3 repeats Below is a breakdown switching between the various tracks of all three solos. Members; 529 Members; Share; Posted December 21, 2005. For most of his 2016 tour he used multiple delays for those parts, but switched to using a Boonar Multi-Head Drum Echo digital delay from Dawner Prince Electronics for the last few concerts. Below is an example of David using two digital delays (TC 2290 Digital Delay and the dual delays from a PCM 70 delay) for the intro to Time in 1994. Example: You determine the 4/4 beat/song tempo is 600ms. The trick is not to overdo it. The mode should always be set at 800ms, unless you want a short slapback delay for something like the dry solo in Dogs. delay 2: 430ms, In Any Tongue - 2015/16 live version: FINDING THE "TRIPLET" TIME DELAY FOR A SONG - David has sometimes used a rhythmic 3/4 time delay, what he calls "triplet" time. solos: 440ms -- feedback: 7-8 repeats - delay level: 15% -- delay type: analog It had a maximum 16kHz bandwidth up to 800ms, with a maximum delay time of 1600ms, expandable to 3200ms. 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. 1st solo: 435ms 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). But to sum up, both these digital units sound amazing, because if it didnt David Freakin Gilmour wouldnt be using them. slide solo: 550ms -- feedback: 7-8 repeats 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. What is interesting about this performance is that it is probably the only time David is known to have used a tape delay. 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. I'll keep this simple rather than going into an explanation of time signatures. There are several reasons. Mids: 6-7. 5 A.M. : This unit can also be heard on the The Wall album. Best Delay pedal for tones ala David Gilmour? - My Les Paul Forum This is the primary delay time you hear in the song. The level or volume knob would be set to maximum on most delays for this. - 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. The tape splices were then camouflaged with cymbal crashes. A 300ms and 380ms delay had the heads repeating in these specific delay times. (requires a volume pedal before the delay in signal chain to create the volume swells), Castellorizon: second solo: 380ms -- feedback: 6-7 repeats, Comfortably Numb - 1986 live version / Columbian Volcano Appeal Concert: 2nd delay 375ms. David Gilmour Delay / Echo - Kit Rae 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. 8-10 repeats on each. Sort of a triplet on top of a triplet time delay. outro solo : 550ms -- feedback: 3-4 repeats, Take It Back: David played the first bass guitar you hear and Roger Waters played the second that comes in immediately after. A bit of delay can smooth out the unpleasant, raw frequencies you get from a fuzz box. Last update July 2022. solo: 500ms, High Hopes - live versions - 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. You can check this by mute picking a single note simultaneous with a drum beat, then listen to the repeats. A second and third guitar repeat similar slide phrases, playing slightly behind the first guitar. From the 1972-74 period he used the PB first in line in the signal chain for his live rigs. 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. Often what I hear in the recordings is just natural room or hall reverb. Solo: TC 2290 Digital Delay: 430ms, Time - Delicate Sound of Thunder version (TC 2290 Digital Delay) : outro solo: 430-450ms, One of These Days studio version (Binson Echorec): 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. 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. Both types have been described as "warm" sounding, which can get confusing. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. He always kept the Echorec in tip top shape, and after the MXR Delay System used a variety of digital delays, including the DD2 and later the TC 2290. alternate 2nd Solo: 540ms -, David Gilmour interview by Bob Hewitt from Guitarist, June 1986, FINDING THE "TRIPLET" TIME DELAY FOR A SONG. rhythm/verse/chorus sections: 340ms -- feedback: 3-4 repeats Pink Floyd recording engineer Andy Jackson has said he usually uses a couple of EMT plate reverbs in the studio for David's voice and guitar, and sometimes a Lexicon Hall reverb. The last 8 minutes of the song is a rambling collage of echo repeats. It's just like the old Echoplex unit - David Gilmour from Guitar for the Practicing Musician, 1985, The Binson was an Italian made delay unit. 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. This is something us Gilmour fans have sought to recreate in our own playing. Run Like Hell with 380ms and 254ms delays in series. It makes for a sound that really adds depth to the guitar tone in the mix, but is not cluttered by delay repeats. It's fun to just jam around using the unique delay rhythm it creates. Kits Secret Guitar, Gear, and Music Page. Because the notes all intertwine, it doesn't matter anyway, but I find that I usually set them on a triplet. As the song plays on I dial the delay volume and number of repeats higher and higher. 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. The third delay is probably in 3/4 time, but I can barely hear it. delay 2 time (second delay ADT effect): 80ms -- feedback 2-3 repeats - delay level: 30% -- delay type: digital, Sheep - 1977 live version: 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. 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. Flashback/David Gilmour | The Gear Page David Gilmour Lead Guitar Tone Tutorial - Time - GuitarLessons365 Delay Time: Shown in milliseconds. Below is a clip illustrating plate reverb from a Free The Tone Ambi Space stereo reverb pedal. I have occasionally used spring reverb from an amplifier, but set very low so there is just a hint of that sound. Below is an example from 2016 of David Gilmour using three delays to simulate the Echorec sound in Time. Run Like Hell with 380ms and 507ms delay in series. The Echorec 2 had a 12 position switch to select among various combinations of heads. Syd's theme: 375ms and 500ms Delay volume 65% 650ms delay first, with 2 repeats, and 1400ms delay second with 1 repeat. 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. In the 80s and 90s David would mostly use digital rack models such as the TC Electronic 2290. The main rhythm guitar, chords, and fills are all double tracked. The Mode switch is in position 7, which is Head 3 + Head 4. Dec 23, 2015. He began using digital delays in place of the Echorec around 1977. David Gilmour Sound Part 4/4: DELAY & SETUP HISTORY - YouTube 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. David would use the latter setting for most of the album. THE RULING CASTE: IMPERIAL LIVES IN THE VICTORIAN RAJ By David Gilmour - David Gilmour interview by Bob Hewitt from Guitarist, June 1986. Getting an original Binson Echorec these days is nearly impossible. 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. Tim Renwick solo: 520ms, Louder Than Words: When playing alone, I find I often turn the delay volume down, but with a band or backing track I turn it up. I have two units, and I have different echo settings on both. 1st delay 428ms. Gilmour uses this type of delay setting on several songs in the Pink Floyd catalog, most famously in "Run Like Hell." Here is the tab for Another Brick In The Wall pt. David was very much in control of his sound system We rarely added effects to his guitar in the control room. David often uses long echo delays to help create a his big, smooth, and liquidy solo tones. 1st delay 500ms. Money solo - studio version - multiple guitar tracks were recorded with different delay times (Binson Echorec 2 and Binson PE603): He used three delays there, but again, I can only distinctly hear two. That may be just my fantasy; I don't know. Alternate (Pulse): Delay 1 = 430ms / Delay 2 = 1023ms, Hey You: They want to play and sound just like the man himself. second solo delay #1 TC2290 Digital Delay (whole solo): 480ms The S-O-S unit was basically a buffered interface with two send/returns. studio album solo: 275ms It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. 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 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. 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. For the modulation, I use an old green 18v Electric Mistress or a 1980s era Deluxe Electric Mistress in the big box. - 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. Delay volume 50%. Andrew Bell has 42 posts and counting. 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. You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms). 3. Run Like Hell Tone Building - Boss CS-2 compressor, Hartman Flanger, and two Boss DD-2 delays. The official live recordings often have an even larger delay sound than the studio versions. 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: 360ms Hes got the sort of guitar-god charisma that comes with his insane talent. Any delay with a 100% wet signal output can be set up in a parallel signal chain to do this. The other delay is set in 4/4 time (quarter notes) at 507ms, or one repeat on every beat. outro solo : delay 1 = 1000ms -- feedback: 1 repeat / delay 2 = 720ms -- feedback: 3-4 repeats, Take A Breath 2006 live versions: 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. The tremolo is from an HH IC-100 amp was used for the studio recording. 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. You might be tempted to make it ear piercingly loud, but trust me on this, a little goes a long way, especially when playing with other people. The first delay is set to 570ms, which is the 4/4 time, and the second is set to 428ms, which is the 3/4 time. The delay and reverb are usually not mixed particularly loud, but the overall combined wet delay/reverb mix is very effective. Some duplicate the studio album delay times and some duplicate the live delay times. There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment. One of These Days - 294ms delay + vibratto. slide violin intro: 300ms -- feedback: 8-9 repeats - delay level: 90-100% -- delay type: analog Electric Mistress V2, V3, or V4: In order to use exact delay times it helps to have a delay with a digital display showing the time in miliseconds. Listen to some of the 5.1 live tracks separately and you can clearly hear this. Fat Old Sun- 2015/16 live version: MXR DIGITAL DELAYS - David began using digital delays in 1977. 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. It has a digital readout, but it's really nowhere close to being accurate. Let's see some of the units he used over time. - David Gilmour, Guitar World March 2015, As I recall, he (David) used a Hiwatt stack and a Binson Echorec for delays. It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. Then I play the bass rhythm clean, then with the effects on. 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. The most recognisable and somewhat stereotypical sound that Pink Floyd uses is their ambience. 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. In fact, Dark Side engineer Alan Parsons said plate reverb was virtually the only reverb used for those recordings, although he has said they also used as many as five or six tape machines to create various reverb delays. The Mooer Elec Lady is a good, inexpensive clone of the Electric Mistress that sounds much closer to the original large box Mistress. This the dominant delay, but there is also a 300ms delay low in the mix second solo: (early in song) 580ms -- feedback: 4-5 repeats -- delay level: 25% -- delay type: analog David usually used positions 1-4, for single playback repeats of heads 1-4. outro solo: 620ms -- feedback: 4-5 repeats, Yet Another Movie - 1987-89 live version: There are several reasons. Try playing the Comfortably Numb solo with a 380ms delay with 4-6 repeats, versus a longer 540-600ms delay to hear the difference. solo: 580ms, A Great Day For Freedom - Pulse version (TC2290 Digital Delay): The IC-100 tremolo was set to maximum depth and the trem speed was set so there are two pulses for every delay repeat. I use a compressor or a Tube Driver for this. All those divisions and subdivisions will be in time with the song. Its not rare to see Pink Floyd play 10-minute long solos over what can only be described as atmospheric playing from the band. 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. This creates a different bouncy feel to the delay rhythm. 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. Read an explanation about how this is achieved here. SHINE ON YOU CRAZY DIAMOND 1-5 settings. Check here for more Big Muffs to achieve the Gilmour tone. 2,434. 1st solo: 310ms Let's do some "Echorec math." But fear not, if you want a semi-authentic Echorec experience, Catalinbread makes an Echorec pedal that sounds very close to the original. solo: 430ms -- feedback: 7-8 repeats - delay level: 20% -- delay type: digital, Time - 2016/15 live version: Sometimes these are called "parallel mixers" or "looper" pedals. 440ms -- feedback: 4-5 repeats, No More Lonely Nights: The Echorec was an old school mechanical delay that utilized a spinning drum disk wrapped in magnetic recording wire rather than magnetic tape. This unit is an incredibly versatile digital delay that many artists use. The 450ms delay should come before the 600ms delay in your signal chain. Use the feedback option to set it right where you think it sounds closest. Here is a breakdown from the Great Gig multi tracks. Sort of a triplet on top of a triplet time delay. La guida un lavoro in continua evoluzione ed in continuo aggiornamento. If running the delays parallel, set for about 12 repeats on each. >> Click to read more <<. Its not a cheap pedal (around 250$ new), but its way cheaper than an original.

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