delay 1: 380ms -- feedback 10-12 repeats - delay level: 95% -- delay type: digital That ADT slapback sound can also be heard on other Run Like Hell concert recordings, like Delicate Sound of Thunder, Pulse, and David Gilmour Live at Pompeii, but to a lesser effect. Anyone got some David Gilmour delay settings Anyone got some David Gilmour delay settings. 2nd delay 165ms. I change my echo settings fairly often in concert. What delay does David Gilmour use? - Killer Guitar Rigs The Echorec was an old school mechanical delay that utilized a spinning drum disk wrapped in magnetic recording wire rather than magnetic tape. One of these Days evolved from some of my experiments with the Binson, as did Echoes - David Gilmour, Guitar World February 1993, there are some things that only a Binson will do. rhythm/verse/chorus sections: 340ms -- feedback: 3-4 repeats ANOTHER BRICK IN THE WALL PART I - This one is very similar to Run Like Hell, played in D, with a 450ms delay, around 7 repeats, with the repeat volume equal to the signal volume. 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. In fact, there was a time when Pink Floyds original road manager, Peter Watts, and I were the only two people who could actually maintain a Binson.They are so noisy, and I guess all the ones weve got now are so old that it is impossible to keep them noise free. 1st solo: 435ms Delay time depends on the era. David used various Echorec models but he was most known for using the Echorec 2 model T7E. Run Like Hell with 380ms and 507ms delay in series - first is 380ms delay in the left channel, then 380ms+507ms in the right channel. 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. First is the delay, then the square wave tremolo, then both together. A second and third guitar repeat similar slide phrases, playing slightly behind the first guitar. Here is my example of this sound. All these effects can be heard in most of Pink Floyds discography. David maintained his Echorecs well and replaced them often however, so his sound only had minimal high end roll-off in the repeats. Here is a clip of a single 330ms delay playing the Blue Light riff. The second delay David used was the MXR Digital M-113 Delay. 1. 614ms -- feedback: 6-7 repeats, Rattle That Lock: outro arpeggio riff: 310ms, Shine On You Crazy Diamond VI-IX (Binson Echorec): 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. 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. Kits Secret Guitar, Gear, and Music Page When the notes pitch up or down the delay has 4-5 repeats. The long delay, and multi tracked guitars add to the smooth, lquid feel of the notes. I use a compressor or a Tube Driver for this. slide violin intro: 300ms -- feedback: 8-9 repeats - delay level: 90-100% -- delay type: analog Heavy reverb. To add space to your tone, add a clean digital delay at the end of your signal chain. I use two delay pedals for Run Like Hell. Instead, it used a metal recording wheel. solo: 380ms -- feedback: 5-6 repeats, Marooned - 1994 live version: delay 2 time: 360ms, Us and Them - Pulse version (TC 2290 Digital Delay): : One day, Roger decided to take some of the techniques that I was developing and try them out himself on bass. Below is an excerpt of David's bass guitar part, extracted from the 5.1 surround mix of Meddle. Note or mark that time setting on your delay. For The Wall he switched to the MXR Digital Delay for those accurate and pristine time setups. The IC-100 tremolo was set to maximum depth and the trem speed was set so there are two pulses for every delay repeat. BKB Tube Driver, Electro-Harmonix Electric Mistress, TC Nova delay. 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. - David Gilmour, Guitar World magazine. Any delay with a 100% wet signal output can be set up in a parallel signal chain to do this. If running the delays parallel, set for about 12 repeats on each. Pink Floyd is known for their use of soundscapes and textures that would later characterize genres such as progressive rock and psychedelic rock. HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? 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. Some songs require softer, warmer analog sounding repeats, and others require cleaner, more accurate digital delay repeats. There are a few occasions where I have heard spring reverb in a Gilmour recording, but it is very rare. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. 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 Different Effects Used By David Gilmour Throughout His Career Why is that important? I usually try, in solos, to set the DDLs to have some rhythmic time signature in common with the tune. If the repeats are slower, reduce it. slide guitar: 440ms -- feedback: 5-6 repeats -- delay level: 30-35% -- delay type: analog These three separate channels are blended back together with the original dry signal at the end of the signal chain. Unfortunately the Catalinbread Swell control cannot be set as high as it needs to be for the Time intro, but it gets close. I used to be expert with Binsons. Pink Floyd is deemed as one the all-time best bands to ever exist on this planet. Pink Floyd's "Shine On You Crazy Diamond" is a classic, thanks in large part to David Gilmour's otherworldly guitar playing. David has often usied very long delay times, so the repeats are not as obvious because he is playing the next bit of a solo phrase right when the repeats from the previous notes start. The notes fade in and out, like a pedal steel guitar. I think what makes the solo stand out is that it is dead on the beat which isn't as typical for Gilmour. It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. There is also the "modulation" factor which is a common feaature on modern analog and digital type delays. I have a slight roll off of the high frequencies on the repeats to mimic the Echorec sound. His tone is instantly recognizable and unique. The specific delays he used were as I said the Binson Echorec, the MXR M-113 Digital Delay, and the TC Electronic 2290. It had a maximum 16kHz bandwidth up to 800ms, with a maximum delay time of 1600ms, expandable to 3200ms. 560ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Solo - Strat Pack version: I have two units, and I have different echo settings on both. 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. David often uses long echo delays to help create a his big, smooth, and liquidy solo tones. Its also easier for live situations as changes can be made on the fly. A DD-2 was also seen in David's Medina studio around 2017. It's a beautiful sound, but David did not use tape delays like this. 3. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. 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. This obviously means that a lot of guitarists want to be like him. 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. - In general, no - but sometimes, yes. Gilmour used the TC Electronic 2290, but any digital delay will do. 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. second solo: 480ms -- feedback: 6-7 repeats - David Gilmour from Guitar for the Practicing Musician, 1985. 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. This is probably spring reverb from David's Twin Reverb. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. With regards to the actual sound of the echo repeats, there are essentially two types of delays - analog and digital. 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. 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. Run Like Hell with 380ms and 507ms delay in series. 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. 500ms -- feedback: 5-6 repeats. Kits Secret Guitar, Gear, and Music Page. - David Gilmour, Guitar World March 2015, As I recall, he (David) used a Hiwatt stack and a Binson Echorec for delays. Even though the DD-2 delay chip only produced a 12 bit sample, the circuit blended part of the clean signal back in, producing a crisp, accurate digital repeat. Breathe Intro Using One Delay - One 440ms delay with 4-5 repeats also works well. 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 David usually used positions 1-4, for single playback repeats of heads 1-4. 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). - first is 380ms delay in the left channel, then 380ms+254ms in the right channel. David Gilmour Lead Guitar Tone PDF Download To sound like David Gilmour of Pink Floyd, start with the following amp settings: Gain: 3-4. When using both the mono and stereo outputs together (each running to a separate amp) the DD-2 produces a very defined stereo field, with one channel being the dry signal only, and one being the delayed signal only. For the multi-head Echorec sound needed when performing the intro to Time and the four-note Syd's theme section of Shine on You Crazy Diamond he used two delays, and sometimes three! Gear used: Telecaster into a fender twin Reverb and Reeves Custom 50, Boss CS-2 Compressor, Tube Driver set for light overdrive, Electro-Harmonix Electric Mistress, TC Nova delay. The third solo also sounds like it has reverb, but that sounds more like room reverb or plate reverb added in the studio. 2nd delay 375ms. DAVID GILMOUR DELAY TIME LIBRARY - Song by Song. Alans Psychadelic Breakfast with 2.2 second tape delay_Oct 1970. The clip below is played with those same 428ms and 570ms delay times. Volume 85% The main rythm in the left and right channels of the studio recording is domantly the 3/4 time. solo: 540ms -- feedback: 4-5 repeats -- delay level: 18-20% -- delay type: analog, Any Colour You Like - 1994 live versions: Reaction score. 1st solo: 310ms 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. The main delay rhythm that runs throughout the song is two guitars, one in the left channel and one in the right. 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. The slide parts were made up of several multi tracked recordings, each playing slightly different, but similar phrases. 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. - Be sure to read the section above. verse/chorus sections: 310ms -- feedback: 3-4 repeats, Shine On You Crazy Diamond I-V - 1987-89 live version: Another option is to run two delay pedals simultaneously. One of the only audible examples of the multi heads in use in a Pink Floyd studio recording is the intro to the song Time from Pink Floyds Dark Side of the Moon. second solo: (early in song) 580ms -- feedback: 4-5 repeats -- delay level: 25% -- delay type: analog Then go to a website with a Delay Time Calculator, like the one on this page. David Gilmour Tone Building - Kit Rae - David Gilmour. outro solo : 550ms -- feedback: 3-4 repeats, Take It Back: THE RULING CASTE: IMPERIAL LIVES IN THE VICTORIAN RAJ By David Gilmour 410ms: feedback: 7-8 repeats - delay level: 90% -- delay type: warm digital, Terminal Frost - 1987-89 live version: Often what I hear in the recordings is just natural room or hall reverb. Later versions of the DD-3 have different circuits. I also use it to add some of the bigger room and concert hall sounds. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. It helps to have a delay with a digital display to set the exact delay time. first solo: 340ms -- feedback: 3-4 repeats Below is an example from 2016 of David Gilmour using three delays to simulate the Echorec sound in Time. 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. Brian Eno did something similar later in the early-mid '1970s with his famous reel-to-reel frippertronics tape delay effect. What delay pedal does David Gilmour? - Guitar Reviewed 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. Below are examples of a few ways to set up the type of parallel signal chain used in Gilmour's rigs. Time intro test with backing track - 470ms and 94ms. But delay is not the only effect that Gilmour tends to use. April 9, 2022. by Joe Nevin. The first delay is 380ms, 10-12 repeats, delay voume 95%. This creates a different bouncy feel to the delay rhythm. Solo: 430ms, Fat Old Sun- 1971/72 live versions: I list a number when I can clearly hear them, otherwise 4-5 repeats is usually close. The tremolo is from an HH IC-100 amp was used for the studio recording. Gilmour's delay on Coming Back to Life | The Gear Page It was usually set for single head and a fixed time at about 310ms. A single delay set at 1400ms with 3 repeats has a similar feel as well. This creates a different bouncy feel to the delay rhythm. 147ms (2X the delay repeats), or 2 pulses for every delay repeat. It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. It has a digital readout, but it's really nowhere close to being accurate. - Phil Taylor, David's backline tech. RLH Intro live in 1984 - Live 1984_Hammersmith Odeon and Bethlehem Pennsylvania. Record yourself playing alone verses playing along with a backing track to see what I mean. Other common delay times were 380, 440-450, 480, and 540ms. Some are actually too high quality for my personal taste. The second delay is set for 254ms, 1 repeat, with the delay volume set at 50%. The sustained verse chords and chorus chords (the "run, run, run" part) were also double tracked with the same delay time, but slightly less repeats. Echorec 2 ..Echorec PE 603 There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. Solo: 440ms ? 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. 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 gilmour delay settings | London Guitar Academy Gilmour's Binson Echorec 2 model T7E from 1970-71. David is using two delays from a PCM70 rack delay to simulate the Echorec sound. As the magnetic tape began to wear out and stretch over time, the repeats would start to degrade and sound dirty and warbly. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. The first delay is definitely set to 470ms, which is the 4/4 time. 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: That is an example where David seems to have set the delay speed by ear, rather than going by an exact Echorec formula. 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. USING TWO DELAYS TO MIMIC AN ECHOREC - David stopped using the Echorec live after 1977. Here are what the settings mean -. There are several parallel looper pedals that can be used for the actual "looping" part of the setup. ..(later in song): 450ms -- feedback: 4-5 repeats -- delay level: 25% -- delay type: analog, Comfortably Numb - 1980-81 live version: The delay volume is often not very loud in the studio recordings, so in a full band context, the other instruments mask the repeats. Some duplicate the studio album delay times and some duplicate the live delay times. The delay time on head 4 was approximately 300ms, but it could vary depending on the mains voltage. 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. MXR DIGITAL DELAYS - David began using digital delays in 1977. 4. 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. From long sustained notes that seem to go on forever, to the most tasty of blues licks, his sound is instantly recognizable. Many of the sound effects youll hear on the earlier albums were created with this machine. The Blue - 2016/15 live version: 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 to simulate the multi head Echorec effect - 470ms and 352ms. 5,744. There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment.. delay 1 time (main delay): 380ms -- feedback 8-10 repeats - delay level: 95% -- delay type: digital 350ms, Breathe - studio version (several duplicated multi track recordings offset to create the long delay repeats): Volume 85% Note that I am not talking about spring or amp reverb, or a reverb pedal, which is a completely different sound. outro solo : delay 1 = 1000ms -- feedback: 1 repeat / delay 2 = 720ms -- feedback: 3-4 repeats, Take A Breath 2006 live versions: solos 2/3: Delay 1 = 360ms / Delay 2 = 650ms, Coming Back To Life - 2006 live version: To do this manually, turn the feedback on your delay up to around 80% or so, so the repeats are almost infinite. One of These Days - 294ms delay + vibratto. studio . Brian May (of Queen) did the same effect a few years later on, - 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. "Square wave" means the sound wave looks square shaped, rather than wavy. 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. 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. He notoriously used a Binson Echorec for his delays, and many other vintage pedals and studio outboard gear to achieve his tone. To get the second delay in 4/4 time, multiply 150 x 4 = 600ms. 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. A good chorus like the Boss CE-2 or CE-5 can also be used in place of the flanger. 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. Its not rare to see Pink Floyd play 10-minute long solos over what can only be described as atmospheric playing from the band. That equates to 250 - 240ms. 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. 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 is famous for his unique use of delay and echo.