moderate reverb, probably from the plate reverbs at Abbey Road studios. Program Position 5 is equivalent to Switch Position 7 on the real Echorec, which is Head 4 + Head 3. In some of the studio recordings you are hearing the guitar delay and room sound or studio reverb, not just delay. Theyre so famous they sell for a very high price and are deemed a collectable for many. - 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. David Gilmour is famous for his unique use of delay and echo. I'll keep this simple rather than going into an explanation of time signatures. The delay time must also be precisely in time with the song tempo. The type of multi-head repeats varied depending on which of the four playback heads were selected. All these effects can be heard in most of Pink Floyds discography. But the delay was in 3/4 increments of the beat and the vibrato went with the beat. 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. - Phil Taylor, David's backline tech. middle section: 1000ms -- feedback: 4-5 repeats Listen to some of the 5.1 live tracks separately and you can clearly hear this. 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. You should keep in mind that these official recordings have been sweetened to sound as good as possible. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. 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. 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. Make David Gilmour's Shimmering Sustained Delay in Live. 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). With regards to the actual sound of the echo repeats, there are essentially two types of delays - analog and digital. For the middle section another piece of technology came into play: an HH amp with vibrato. If you have a second delay, set that one in series to 930ms, 4-5 repeats, 30-35% volume. Depending on your second delay EQ, you may need to experiment with the number of repeats and repeat volume. In this clip I'm using Coming Back to Life as a reference with 700ms. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. 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). As technology was progressing, the use of rack effects units became more and more efficient. WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? verse: 360ms Andrew Bell has 42 posts and counting. For the modulation, I use an old green 18v Electric Mistress or a 1980s era Deluxe Electric Mistress in the big box. 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. solo: 500ms, High Hopes - live versions Solo: 430ms, Fat Old Sun- 1971/72 live versions: On the extremely rare occasions that David did use mulitple heads it was usually position 7, which was Head 3 + Head 4, 225ms + 300ms. 480ms: feedback: 7-8 repeats - delay level: 75% -- delay type: clear digital, Sorrow: If you look at head 4 as 4/4 time, the others would break down like this: Head 4 = 4/4 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. Its more compact, more reliable, and just easier to use. 410ms: feedback: 7-8 repeats - delay level: 90% -- delay type: warm digital, Terminal Frost - 1987-89 live version: VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net, This website is frequently updated. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. 8-10 repeats on each delay. But delay is not the only effect that Gilmour tends to use. Here is a clip of a single 330ms delay playing the Blue Light riff. His delay times are slightly faster here. The maximum delay time of the Echorec 2 is not long enough for RLH, but David's PE 603 Echorec max delay time was 377-380ms, which is the RLH delay time. The Effect Level (volume) and Feedback (number of repeats) will vary. delay time for intro and verse slide guitar: There are three different delay times on the repeats and they are slightly offset, Alans Psychadelic Breakfast with 2.2 second tape delay_Oct 1970. Kits Secret Guitar, Gear, and Music Page It was compiled by measuring the echo repeats in official releases and bootlegs of live recordings, and from delay times visible on the LCDs of David's digital delays. The Effect Level (volume) and Feedback (number of repeats) will vary. 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. 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 effect actually works fine with only two delays. Other than a few instances like that, reverb from David rig was not used and I do not recommend it. Sort of a triplet on top of a triplet time delay. Try playing the Comfortably Numb solo with a 380ms delay with 4-6 repeats, versus a longer 540-600ms delay to hear the difference. second solo: 660ms -- feedback: 5 repeats, Comfortably Numb - 2015/16 RTL Tour: solo (Pulse): 490ms, Astronomy Domine - Pulse version (MXR Digital Delay System II for solo) 1 2. Alternate (Pulse): Delay 1 = 430ms / Delay 2 = 1023ms, Hey You: Tim Renwick solo: 520ms, Louder Than Words: If you listen to some of the better bootleg recordings and compare them to the official live releases, you will find David's real live sound is typically drier, with less delay. Instead, it used a metal recording wheel. Solo: 440ms ? To truly delve into David Gilmour's sound, you'd need to do a lot of research and buy a lot of vintage gear. If you want to somewhat recreate his delay youre in luck, as its pretty simple. These were state of the art delays at the time, but were rather noisy effects compared to modern digital delays. He became known for this effect as he used it for his guitar solo in practically every queen concert. Note or mark that time setting on your delay. Any delay with a 100% wet signal output can be set up in a parallel signal chain to do this. delay 2: 375ms, Run Like Hell - two guitars multi-tracked (delay used was likely the MXR M113 Digital Delay): Delay Level: This is the volume level of the delay repeat compared to the original signal. Gilmour's guitar playing is an integral part of this sound. For the muted rhythm part in Echoes, Program 3 is the closest, but almost any program position works as long as the delay time is set for 300-310ms. 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. Too much volume from the first delay will make a mess of double tapped delay sounds on the second, so be careful not to over do it. In the studio recording I hear one guitar playing the single note triplet time rhythm, a second guitar playing the fills, and a third guitar playing occasional accents on top of the fills. You could nail his famous sound with a handful of pedals, though, which makes it that much more achievable. The repeats in the RLH studio recording sound clear and clean, so the MXR was probably the delay used for the studio recording, and it was used for the 1980-81 live performances. It's actually a metallic disc that spins around. The third solo also sounds like it has reverb, but that sounds more like room reverb or plate reverb added in the studio. *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! Sometimes these are called "parallel mixers" or "looper" pedals. Time intro - Isolated guitar from studio mix. This effect seems like reverb, but it is much different and less tone-robbing than reverb (reverb was almost never used in a Gilmour rig). It's all on a D pedal. 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. The main delay rhythm that runs throughout the song is two guitars, one in the left channel and one in the right. ..delay #2 MXR Digital Delay System II (switched on at start of unison bends when mirror ball opens): 720ms This is the primary delay time you hear in the song. Head 1 = 1/4. There are many effect pedals that simulate those sounds, and those types of simulated reverbs are also usually called plate, room, or hall reverb. Volume 85% 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. Both delays are in series with the delay volume around 75% and about 9 repeats. Its hard to give an estimate as every pedal will respond differently. 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. Echorec Style Delay Jamming - 428ms and 570ms. 5 Pedals or Less: How to Sound Like Dave Gilmour Back at it again, the hunt for tone never ends. 234ms and 150ms also works. The exact delay times would be 450ms for the 3/4 time and 600ms for the 4/4 time. Syd's theme - Hollywood Bowl March 2016. It's just like the old Echoplex unit, David bought an Echorec PE 603 model in 1971 that had a maximum delay time of around 377-380ms. Electric Mistress V2, V3, or V4: CATALINBREAD ECHOREC - One of my favorite simple Echorec style delays is the Catalinbread Echorec. 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. Hes got the sort of guitar-god charisma that comes with his insane talent. outro solo: 620ms -- feedback: 4-5 repeats, Yet Another Movie - 1987-89 live version: I used a Free the Tone Future Factory delay set for 300ms and long repeats. 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: I don't care how I get it. Adjust the tone to suit your amp/speaker tone. That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. Shown below are some typical Gilmour DD-2 delay times. 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. 20K views 9 years ago My Delay settings for Run Like Hell as played by David Gilmour, Pink Floyd. One set for a slighly shorter delay time, and a lower echo repeat volume, running into a longer delay with a slightly louder echo repeat will give you a very smooth sound. If the repeats are faster than the tempo, increase the delay time. If you have a clean amp, some settings to start with would be: Gain: 3 Treble: 7 Mids: 7 Bass: 6 Reverb: 5-6 I run it last in the signal chain and I almost always have a light plate reverb sound on when I play. All those divisions and subdivisions will be in time with the song. In a new tutorial, musician Tracy Evans demonstrates how to achieve David's "sound on sound" infinite sustain effect in Live, using the Filter Delay effect. As the recording drum and playback heads aged there was a slight loss of high end that added a unique high end roll-off as the echoes decayed, . To do this manually, turn the feedback on your delay up to around 80% or so, so the repeats are almost infinite. solos: 440ms -- feedback: 7-8 repeats - delay level: 15% -- delay type: analog 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. second solo: 380ms -- feedback: 6-7 repeats, Comfortably Numb - 1986 live version / Columbian Volcano Appeal Concert: outro solo : 550ms -- feedback: 3-4 repeats, Take It Back: As the magnetic tape began to wear out and stretch over time, the repeats would start to degrade and sound dirty and warbly. He came up with that basic riff that we all worked on and turned into One of these Days. Unless otherwise noted, all delay times are shown in quarter notes The third delay is probably in 3/4 time, but I can barely hear it. 525ms, Sorrow Solo - 2016/15 live version: First is the delay, then the square wave tremolo, then both together. David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. 1st delay 240ms. There are times when I have both running at the same time for certain effects. 310ms -- feedback: 3-4 repeats The specific delays he used were as I said the Binson Echorec, the MXR M-113 Digital Delay, and the TC Electronic 2290. The other is more natural sounding because it is added post amplification, which is more like what real reverb does. 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. He usually had the time set to 440ms. 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. Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. It only added a very slight gain boost to his clean amp tone, but . The beginning and end of each tremolo pulse or "wave" is gated and clipped off, rather than ramping up and down like a soft wave. Listening to the trails specifically, something a little darker like a DM-2 would do it. Unfortunately the Catalinbread Swell control cannot be set as high as it needs to be for the Time intro, but it gets close. 1st delay 500ms. Its a famous echo unit used by many artists, and useful for varying instruments. 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. 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): RUN LIKE HELL - This is one of the standout tracks from Pink Floyd's The Wall double album, with music written by David Gilmour. bass guitar rhythm delay (two bass guitars): 294ms, 7-8 repeats I use one of their old ones most of the time because the width is narrower. 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. The S-O-S rig allowed him to play sustained chords on the guitar which he could then play melody on top of. solo: 680ms, Another Brick in the Wall Part 1: For example, 380ms is your triplet time. I go a little in-depth for all three of them, and Ill give some tips on how you can emulate his sound. You must remember this, Those settings are used for a stadium show, set to produce for a huge arena, not your 8 x 10 bedroom, and not your 100 x 100 bar. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. - 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. intro: TC 2290 Digital Delay and PCM 70 Delay: Delay 1= 470ms / Delay 2 = 94ms A DD-2 was also seen in David's Medina studio around 2017. 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. 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. 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. Later versions of the DD-3 have different circuits. buildup and arpeggio delay time: 300-310ms -- feedback: 7-8 repeats - delay level: 40% -- delay type: analog/digital, Eclipse