Try playing the Comfortably Numb solo with a 380ms delay with 4-6 repeats, versus a longer 540-600ms delay to hear the difference. 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. Then I have two regular Boss units (DD2) which I set so one works in a triplet and the other in a 4/4 time - they're actually set in time with each other, so they combine and make a nice sound. I use several of the Program Select positions for various other things, but for Gilmour it's usually just position 1, 4, and 3. An examination of the individual tracks from some of the 5.1 surround sound studio album releases reveals both were used. Many of the sound effects youll hear on the earlier albums were created with this machine. There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. 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. DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. 3rd solo: delay 1 = 240ms / delay 2 = 435ms, Mother solo - 1980-81 live version: 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 . When you play across it, it helps you to double-track yourself. Brain Damage - Pulse version (TC2290 Digital Delay): Breathe - studio version (several duplicated multi track recordings offset to create the long delay repeats): Breathe - Pulse version (TC2290 Digital Delay): Coming Back To Life - Pulse version (MXR Digital Delay II and TC 2290 Digital Delay): Coming Back To Life - 2015/16 live version: Comfortably Numb - 1986 live version / Columbian Volcano Appeal Concert: Comfortably Numb - Pulse version and most Division Bell tour performances: Eclipse solo: 420ms Again, I'll simulate that with only two dominant delays. This pedal was a little easier to use than the Binson, and its the exact delay you can hear in The Wall. intro: 440ms That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. 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. Both types have been described as "warm" sounding, which can get confusing. David's T7E and PE603 Echorecs, and even the stock Echoplexes at the time, were not capable of anything even close to that length of delay. I demonstrate many of the unique sounds that can be created but playing repeating patterns in and out-of-tempo with the delay repeats, letting the repeats get to the point of self oscillating, tapping the strings with a glass slide, tapping the strings with my fingers and pick to create percussive effects, and rubbing my fingers and pick up and down the strings. Echorec 2 ..Echorec PE 603 I started off with a Binson Echo unit, which is like a tape loop thing. 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 Effect Level (volume) and Feedback (number of repeats) will vary. He has used this type of setup in his 1987-89 rig, his 1994 rig, and in his 2006 On An Island tour rig. 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. What is interesting about this performance is that it is probably the only time David is known to have used a tape delay. The other delay is set in 4/4 time (quarter notes) at 507ms, or one repeat on every beat. RLH Intro live in 1984 - Live 1984_Hammersmith Odeon and Bethlehem Pennsylvania. This is because the orchestra in Castellorizon is not loud enough to mask the repeats, but the band playing under the solo in On an Island certainly is. second solo: 430ms - feedback: 3-4 repeats -- delay level: 15% -- delay type: analog, Shine On You Crazy Diamond I-V - 1994 live / Pulse version (TC 2290 Digital Delay): For example, when he played Time for Pink Floyd's 1994 tour he used a TC 2290 Digital Delay and the dual delays from a PCM 70 delay. In live performances he usually used playback Head 4 for the maximum delay time of around 300ms. Sometimes he even uses two delays at once to create certain double tapped echo effects or to make a solo sound bigger. Although he often blends different types of delays, creating rich textures and layers, I'm going to break it down into four signature setups covering each era. 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). David Gilmour is famous for his unique use of delay and echo. It's all on a D pedal. Set it to about 370 milliseconds, mix it low, and set the repeats to about 3-4 times. This would not only be one of the only times David is known to have used a tape delay effect live, but he seems to have used it much earlier than other guitarist more well known for this effect. THE BOSS DD-2 DELAY - 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. It's fun to just jam around using the unique delay rhythm it creates. From the 1972-74 period he used the PB first in line in the signal chain for his live rigs. My sound has everything to do with what sounds good to me. I change my echo settings fairly often in concert. R channel -- 1400ms with two repeats. delay 2: 375ms, Run Like Hell - two guitars multi-tracked (delay used was likely the MXR M113 Digital Delay): DELAY TYPES - ANALOG AND DIGITAL - David has used numerous types of delays in his carreer, both analog and digital. 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). Pink Floyd is known for their use of soundscapes and textures that would later characterize genres such as progressive rock and psychedelic rock. extended version solo: 430ms, Rattle That Lock - 2016/15 Live version: 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. The main rythm in the left and right channels of the studio recording is domantly the 3/4 time. The fill patterns played in the verse section sound dry, with almost no 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. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. Note that I am not talking about spring or amp reverb, or a reverb pedal, which is a completely different sound. Tweaking the delay time was simply more tweakable on the MXR Digital Delay. It also stems from the fact that analog equipment is frequently much more expensive than it is worth. solo: 580ms, A Great Day For Freedom - Pulse version (TC2290 Digital Delay): Delay volume 65% 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. This the dominant delay, but there is also a 300ms delay low in the mix David usually sets his delays in time with the song tempo, which helps hide the echo repeats. Electric Mistress V2, V3, or V4: By porsch8 December 21, 2005 in Effects and Processors. Delay Type: Analog delays are warm sounding, with repeats that are softer sounding than the original note due to a high end roll-off. First is the delay, then the square wave tremolo, then both together. 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. On the extremely rare occasions that David did use mulitple heads it was usually position 7, which was Head 3 + Head 4, 225ms + 300ms. Set the value to quarter notes, enter the BPM, and you have a delay time in milliseconds the same tempo as the song. It can be simulated with a short 40-50ms digital delay with one repeat, like this: PARALLEL MIXING DELAYS - Stacking one delay after another in your signal chain can degrade your tone because your original signal travels through, and is altered by, two delay circuits before coming out the other end. moderate reverb, probably from the plate reverbs at Abbey Road studios. For David's 2006 rig one output from his Mk 2 Cornish-built pedalboard went to his main Hiwatt amp and 4x12 speaker cabinets. 234ms and 150ms also works. Solo: 440ms ? In order to use exact delay times it helps to have a delay with a digital display showing the time in miliseconds. intro: TC 2290 Digital Delay and PCM 70 Delay: Delay 1= 470ms / Delay 2 = 94ms The delay time must also be precisely in time with the song tempo. 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. David probably just uses the term triplet because what he does has a similar feel. In this clip I'm using Coming Back to Life as a reference with 700ms. I use the MXR with the read-out on it, so I instantly have the right tempo. I have managed to nearly replicate what a Binson will do using a combination of modern digital unitsthe multi-head sounds, as well as the Swell settingwhich is what I use on the beginning of Time, for example - David Gilmour, Guitar World March 2015. solo: 400ms, Raise My Rent: This is the primary delay time you hear in the song. 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. During the tour a T-Rex Replica was added specifically to use for "Echoes". Below is an example of the Syd's Theme section of Shine on You Crazy Diamond from Pink Floyd's 1994 tour. To truly delve into David Gilmour's sound, you'd need to do a lot of research and buy a lot of vintage gear. I used a Free the Tone Future Factory delay set for 300ms and long repeats. - Be sure to read the section above. solo: 540ms -- feedback: 4-5 repeats -- delay level: 18-20% -- delay type: analog, Any Colour You Like - 1994 live versions: Run Like Hell with 380ms and 254ms delays in series. What delay pedal does David Gilmour? That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net. I have split the 5.1 stem channels apart from the surround sound mixes of all of the Pink Floyd and Gilmour's solo albums to hear the individual elements. fills under second and fifth solos: 507ms -- feedback: 4-5 repeats 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. Then I have two regular Boss units (DD2) which I set so one works in a triplet and the other in a 4/4 time - they're actually set in time with each other, so they combine and make a nice sound. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. 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. This obviously means that a lot of guitarists want to be like him. But which delay pedal (s) does/did he use? WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. Multiply that x3 to get the 3/4 time and you get 427.5. SHINE ON YOU CRAZY DIAMOND 1-5 settings. Plate reverb is far more accurate. Set one delay for 440ms, 2 repeats, 30-35% volume. Solo: TC 2290 Digital Delay: 430ms, Time - Delicate Sound of Thunder version (TC 2290 Digital Delay) : tremolo effect for middle section: 294ms delay, 7-8 repeats / tremolo with gated square wave, depth set to maximum, and speed set for 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. ECHOREC DELAY - David was a heavy user of the Binson Echorec from his early days with Pink Floyd in 1969 until the late 1970s. 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. 8-10 repeats on each. David's T7E and PE603 Echorecs, and even the stock Echoplexes at the time, were not capable of anything even close to that length of delay. 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%. This gives the impression of a 920-930ms delay. solos 2/3: Delay 1 = 360ms / Delay 2 = 650ms, Coming Back To Life - 2006 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. If you have a second delay, set that one in series to 930ms, 4-5 repeats, 30-35% volume. I have one for specific time settings, for things like Run Like Hell and Give Blood, so I know in numbers (delay time in milliseconds) what setting I need to use. Below is a song-by-song list of delay times with some settings. Next cut that delay time in half so you hear two repeats per beat, or 2/4 time. I use the Tremotron from Stone Deaf Effects for this. David would use a Binson Echorec in the early days between 1968-1978. The second send went to a Roland SDE 3000 digital delay in his rack, with individual level controls for both the send and return, along with a mute switch. I used to be expert with Binsons. intro: 650ms, Coming Back To Life - 2015/16 live version: 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 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. Below is a clip illustrating plate reverb from a Free The Tone Ambi Space stereo reverb pedal. It's actually a metallic disc that spins around. Run Like Hell Demo Instrumental - excerpt from The Wall demos, Run Like Hell - extended intro from the long version of the original studio recording - one guitar in L channel and one in the R. Run Like Hell R channel - same as above, but just the R channel so you can hear just a single guitar playing the riff. intro and verse volume swells, first solo: 480ms -- feedback: 6-7 repeats CATALINBREAD ECHOREC - One of my favorite simple Echorec style delays is the Catalinbread Echorec. The S-O-S unit was basically a buffered interface with two send/returns. Below is my replication of that 1984 ADT sound using two delays in series to two different amplifiers, in stereo. Delay time depends on the era. Delay volume 90%. He is also known for using the legendary Proco Rat and MXR Phase 90. Although it is not often that this roll-off effect was heard in David's use of the Echorec, you can clearly hear it in the echo repeats in the very beginning of the song One of These Days from Pink Floyd's Meddle album in 1971. 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. Head 4 = 300ms (or 75ms x 4) .Head 4 = 380ms (or 95ms x 4) I was able to dismantle them, put them back together, and change the head positioning. The delay and reverb are usually not mixed particularly loud, but the overall combined wet delay/reverb mix is very effective. Some songs require softer, warmer analog sounding repeats, and others require cleaner, more accurate digital delay repeats. Often during the live songs that do have very loud delays, you do hear the repeats clearly. 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. These are 5 note scales, pretty much the simplest scale a guitarist could use. second solo delay #1 TC2290 Digital Delay (whole solo): 480ms second solo: 380ms -- feedback: 6-7 repeats, Comfortably Numb - 1986 live version / Columbian Volcano Appeal Concert: I use a compressor or a Tube Driver for this. The third solo is also artificially double tracked, which you can simulate with a short 60-90ms slapback delay with one repeat. Also, two delays in line, while useful for some double tap delay effects, means that the repeats from the first delay are then repeated again by the second when both are used at the same time, which can sometimes create a mushy mess of repeats. 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. 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. 2nd delay 165ms. Alt. The Effect Level (volume) and Feedback (number of repeats) will vary. The clip below is played with those same 428ms and 570ms delay times. The Blue - 2016/15 live version: Copyright Kit Rae. outro solo : 550ms -- feedback: 3-4 repeats, Take It Back: 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. which is what gives the verse section that floaty, ethereal feel. One of These Days - gated tremolo section isolated. The 450ms delay should come before the 600ms delay in your signal chain. For Run Like Hell, David's using what he refers to as "triplets".. The notes fade in and out, like a pedal steel guitar. outro solo: 680ms -- feedback: 4-5 repeats. The S-O-S rig allowed him to play sustained chords on the guitar which he could then play melody on top of. 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