david gilmour delay settings david gilmour delay settings

Note that some people confuse mixing delays in parallel with "stacking" multiple delays or running a stereo setup with one delay going to one amp and another delay going to different amp. The 3/4 time delay is 380ms and the second 4/4 delay time is 507ms, or one repeat on every quarter note (one beat). slide solo: - parallel delays, 380ms (both channels) and 507ms (right channel only), going to separate amps, David would play a chord, raise the volume pedal to send the signal into the SDE 3000, then lower the volume back to to zero to kill the input signal. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. David usually sets his delays in time with the song tempo, which helps hide the echo repeats. 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. In four beats you will hear 5 repeats (including the pick), and and that fifth repeat will time right on the fourth beat. 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. "Square wave" means the sound wave looks square shaped, rather than wavy. I the clips below I play the 470ms delay first, then the 94ms delay, then both in series together. You can simulate the verse delay with two delays in-line going to one amp. I use the MXR Digital Delay. It features two separate bass guitar tracks played in time with a single head delay (head 4) from the Echorec. 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. 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. Shown below are some typical Gilmour DD-2 delay times. outro solo: 680ms -- feedback: 4-5 repeats. Playing the RLH Rhythm Fills - with and without the delay, Playing the RLH Verse Chords - with and without delay. It created a unique stuttered stacatto rhythm. delay 1: 380ms -- feedback 10-12 repeats - delay level: 95% -- delay type: digital Money solo - studio version - multiple guitar tracks were recorded with different delay times (Binson Echorec 2 and Binson PE603): Mids: 6-7. - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. Make David Gilmour's Shimmering Sustained Delay in Live. Regardless, it is the combination of both delay and reverb that makes the delay sound so smooth in some instances. Listen to some of the 5.1 live tracks separately and you can clearly hear this. second solo: 500ms - feedback: 3-4 repeats -- delay level: 15% -- delay type: analog, Shine On You Crazy Diamond I-V Syds theme - 2016/15 Live version: See all posts by Andrew Bell. Delay Level: This is the volume level of the delay repeat compared to the original signal. Unfortunately the Catalinbread Swell control cannot be set as high as it needs to be for the Time intro, but it gets close. middle section: 1500ms -- feedback: 10-12 repeats third solo (after dry solo): 380ms -- feedback: 2-3 repeats. The delay time on head 4 was approximately 300ms, but it could vary depending on the mains voltage. tremolo effect for middle section: 294ms delay, 7-8 repeats / tremolo with gated square wave, depth set to maximum, and speed set for 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. 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. Treble: 4-5. 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. 240ms and 165ms actually sound more like David's delay times, but there are other times that have the same feel. second solo: 380ms -- feedback: 6-7 repeats, Comfortably Numb - 1986 live version / Columbian Volcano Appeal Concert: fourth solo: 40-50-ms slapback delay -- feedback: 1 repeat, Echoes slide guitar solos: 400ms, On the Run (The Traveling Section) - early live guitar version from 1972 (Echorec PE 603): 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 The third solo also sounds like it has reverb, but that sounds more like room reverb or plate reverb added in the studio. The Free the Tone Ambi Space pedal is my favorite device for this. solo: 680ms, Another Brick in the Wall Part 1: From the 1972-74 period he used the PB first in line in the signal chain for his live rigs. I am not talking about spring reverb from an amp. Instead, it used a metal recording wheel. 530ms -- feedback: 4-5 repeats, Coming Back To Life: Alternate (Pulse): Delay 1 = 430ms / Delay 2 = 1023ms, Hey You: With that said, the rest of the article is designed to . Program Position 3 is equivalent to Switch Position 6 on the real Echorec, which is Head 3 + Head 2. Last update September 2022. But which delay pedal (s) does/did he use? solo: 540ms, Poles Apart - Pulse version (TC 2290 Digital Delay): He is also known for using the legendary Proco Rat and MXR Phase 90. There are times when I have both running at the same time for certain effects. Gilmour's delay on Coming Back to Life | The Gear Page R channel -- 1400ms with two repeats. David Gilmour Lead Guitar Tone Tutorial - Time - GuitarLessons365 David Gilmour adjusting his MXR rack effects from April 1984, including the MXR 113 Digital Delay, and MXR Digital Delay System II. - David Gilmour interview by Bob Hewitt from Guitarist, June 1986. I list a number when I can clearly hear them, otherwise 4-5 repeats is usually close. This unit can also be heard on the The Wall album. 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). Try playing the Comfortably Numb solo with a 380ms delay with 4-6 repeats, versus a longer 540-600ms delay to hear the difference. 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. WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? 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. A DD-2 was also seen in David's Medina studio around 2017. delay time to simulate offset multi track recordings: 930ms -- feedback: 4-5 repeats -- delay level: 30-35% -- delay type: analog, Breathe - Pulse version (TC2290 Digital Delay): 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. The slide parts were made up of several multi tracked recordings, each playing slightly different, but similar phrases. If you want to use a noise gate put it right before the delay/reverb. 360ms -- feedback: 8 repeats -- delay level 100% -- delay type: digital, Great Gig in the Sky - live version 630ms: feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital, Sorrow Solo - Pulse version (TC 2290 Digital Delay): 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. solo (Pulse): 490ms, Astronomy Domine - Pulse version (MXR Digital Delay System II for solo) Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. April 9, 2022. by Joe Nevin. If you have a subdivisions setting (quarter notes, eighth notes, dotted eighth notes, et cetera) set it to quarter notes, or the normal setting. The volume swells can be easily created today with a delay and a volume pedal. Again, I'll simulate that with only two dominant delays. 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 . 80x2 = 160. 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. David also used the triplet delay setup on many other songs such as One of These Days from Pink Floyd's Meddle, Give Blood from Pete Townshend's White City, Blue Light from David's second solo album, About Face, The Hero's Return from Pink Floyd's The Final Cut, among others. 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. >> Click to read more <<. 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. 650ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Intro / Outro - Pulse version (TC 2290 Digital Delay): He began using digital delays in place of the Echorec around 1977. Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. Dave likes it because even though it's a digital unit, it still sounds a little dirty, like a tape unit. I use one of their old ones most of the time because the width is narrower. It's all on a D pedal. By porsch8 December 21, 2005 in Effects and Processors. (requires a volume pedal before the delay in signal chain to create the volume swells), Castellorizon: - Pulse version (TC 2290 Digital Delay): It was used for the early live version of, 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. David bought an Echorec PE 603 model in 1971 that had a maximum delay time of around 377-380ms. Dave Gilmour Amp Setting - Ultimate Guitar ..(later in song): 450ms -- feedback: 4-5 repeats -- delay level: 25% -- delay type: analog, Comfortably Numb - 1980-81 live version: 1st delay 428ms. To get the 4/4 time delay, simply multiply 126.7 x 4 = 506.8ms. . RLH Intro live in 1984 - Live 1984_Hammersmith Odeon and Bethlehem Pennsylvania. Basically anything prior to 1977 is 300-310ms, which is the best delay time for the Echorec IMO, and Program position 1 is the standard for most DG solos from the Echorec period, equivalent to Switch Position 4/Head 4 on a real Echorec. Assume a 100% delay level means the delay repeat volume is exactly the same as the original signal volume, so the dry signal and the delay repeats will be exactly the same loudness. 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! 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. Below is an isolated excerpt of this part. Another interesting effect heard in the middle section of One of These Days is the use of that same "triplet" time delay along with a gated tremolo effect. 2nd delay 375ms. When he played Shine on You Crazy Diamond in his 2015 live performances he used three delays to replicate the old Echorec sound, two Flight Time delays and an MXR Delay. 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. The S-O-S unit was basically a buffered interface with two send/returns. Reverb was also added at the mixing desk when recording or mixing. How to you get the proper 3/4 delay time from that 4/4 time? 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. alternate 2nd Solo: 540ms For the solos, Gilmour played his iconic black 1969 Fender Strat into an amp setup that was essentially a smaller version of his stage performance rig, consisting of a 100-watt Hiwatt half stack and a Yamaha RA-200 revolving speaker system, with the Hiwatt and Yamaha run in parallel. The Echorec playback heads were spaced so the input signal would repeat at specific intervals, adding delay repeats upon delay repeats. That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. second solo: (early in song) 580ms -- feedback: 4-5 repeats -- delay level: 25% -- delay type: analog David would play a two note chord, then fade the volume in as he slides to the next position. A little later he switched to the MXR Digital Delay. There is also the "modulation" factor which is a common feaature on modern analog and digital type delays. 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. 380ms -- feedback: 3-4 repeats, On The Turning Away - 1991 live Amnesty International Big 3 O version: verse / chorus: 430ms, Us and Them - 2016/15 live version: Note the controls show playback mode switch is in position 4, which is single playback Head 4, Gilmour's Binson Echorec 2 model T7E from 1970-71 with the playback mode switch in position 4, Gilmour's Binson Echorec 2 model T7E from 1972 and 1977 with the playback mode switch in position 1, which is singe playback Head 1, Various Echorec 2 settings seen in David's Medina studio from 2013, 2014, and 2017, The Echorec 2 in David's Medina studio from 2017. This is actually not quarter-note triplets. If you want to somewhat recreate his delay youre in luck, as its pretty simple. Below are settings to get that sound. 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. Getting an original Binson Echorec these days is nearly impossible. 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 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. Brian Eno did something similar later in the early-mid '1970s with his famous reel-to-reel frippertronics tape delay effect. 2nd delay 94ms. There are several parallel looper pedals that can be used for the actual "looping" part of the setup. A single delay set at 1400ms with 3 repeats has a similar feel as well. solo: 680ms -- feedback: 1 repeat - delay level: 30% -- delay type: digital. When the notes pitch up or down the delay has 4-5 repeats. That came from an old trick I'd been using, which is having a DDL in triplet time to the actual beat. outro solo: 620ms -- feedback: 4-5 repeats, Yet Another Movie - 1987-89 live version: It's a sort of melodic delay to use. 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. The Mooer Elec Lady is a good, inexpensive clone of the Electric Mistress that sounds much closer to the original large box Mistress. I have occasionally used spring reverb from an amplifier, but set very low so there is just a hint of that sound. It helps to have a delay with a digital display to set the exact delay time. To get the second delay in 4/4 time, multiply 150 x 4 = 600ms. - 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. One of These Days - 294ms delay + vibratto. It's fun to just jam around using the unique delay rhythm it creates. The first Money solo, for example, sounds like it is awash in spring reverb. Delay time depends on the era. For his 2015 tour he used a Providence Chrono Delay and two Flight Time delays. 1st solo: 435ms 430ms, Faces of Stone - 2015/16 live version: Let's see some of the units he used over time. You can also add a second delay in series to thicken the sound, combining the 3/4 time with a 4/4 time delay. I don't think I'll ever stick to one instrument - but the great thing about life is you don't have to. Anyone got some David Gilmour delay settings Anyone got some David Gilmour delay settings. #4. Pink Floyd is deemed as one the all-time best bands to ever exist on this planet. Note or mark that time setting on your delay. For example, take 450ms divided by 3 = 150ms. Solo: 430ms, Fat Old Sun- 1971/72 live versions: Head 3 = 225ms (or 75ms x3) ..Head 3 = 285ms (or 95ms x 3) 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'. Each was set to 380ms, 7-8 repeats, with the delay volume almost equal to the signal volume. 570 x 75% = 427.5. As the magnetic tape began to wear out and stretch over time, the repeats would start to degrade and sound dirty and warbly. The first send went to a volume pedal. This is a big part of Pink Floyd's sound. delay 2: 375ms, Run Like Hell - two guitars multi-tracked (delay used was likely the MXR M113 Digital Delay): David probably just uses the term triplet because what he does has a similar feel. second solo: 490ms, What Do you Want From Me? Sometimes he even uses two delays at once to create certain double tapped echo effects or to make a solo sound bigger. verse/chorus sections: 310ms -- feedback: 3-4 repeats Electric Mistress - How to use it - Settings In this clip I'm using Coming Back to Life as a reference with 700ms. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. This pedal was a little easier to use than the Binson, and its the exact delay you can hear in The Wall. MXR DIGITAL DELAYS - David began using digital delays in 1977. 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. Run Like Hell Tone Building - Boss CS-2 compressor, Hartman Flanger, and two Boss DD-2 delays. 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. HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? Below is a song-by-song list of delay times with some settings. 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. delay 1: 90ms middle keyboard section: 340ms -- feedback: 8-9 repeats rhythm/verse/chorus sections: 340ms -- feedback: 3-4 repeats Kits Secret Guitar, Gear, and Music Page David would use a Binson Echorec in the early days between 1968-1978. I use a compressor or a Tube Driver for this. 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. What is interesting about this performance is that it is probably the only time David is known to have used a tape delay.