david gilmour delay settings

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. 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. This creates a different bouncy feel to the delay rhythm. Because later in his carreer David often used both a 3/4 delay, or what he calls a "triplet", and a 4/4 delay simultaneously, mimicking the sound of Heads 3 + 4 on the Echorec. He began using digital delays in place of the Echorec around 1977. Tim Renwick solo: 520ms, Louder Than Words: Last update July 2022. I do hear what sounds like multi-head repeats in the chorus section of the first band demo however, so that could have been the Echorec. Those are not the type of parallel setup we are talking about here. Alternate (Pulse): Delay 1 = 430ms / Delay 2 = 1023ms, Hey You: DAVID GILMOUR DELAY TIME LIBRARY - Song by Song. 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. second solo before verse: 350ms -- feedback: 3-4 repeats Pink Floyd is deemed as one the all-time best bands to ever exist on this planet. A little later he switched to the MXR Digital Delay. Generally speaking, the sound on the album is pretty much what came out of his amp. To figure a 4/4 dealy time to work with any 3/4 triplet delay time, you can split the 3/4 time delay into thirds. there is no delay on the studio recording, but the multiple multi-tracked guitars playing slightly out of time with eachother make it sound like there is delay. Fine tune it until you hear the repeats are exactly in sync with the song tempo. extended version solo: 430ms, Rattle That Lock - 2016/15 Live version: David also had an MXR 113 Digital Delay System that could do that delay time. 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. Sort of a triplet on top of a triplet time delay. ECHOREC DELAY - David was a heavy user of the Binson Echorec from his early days with Pink Floyd in 1969 until the late 1970s. 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 general, no - but sometimes, yes. 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, I started off with a Binson Echo unit, which is like a tape loop thing. Then I play the bass rhythm clean, then with the effects on. Members; 529 Members; Share; Posted December 21, 2005. It's actually a metallic disc that spins around. What delay pedal does David Gilmour? - 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. 530ms -- feedback: 4-5 repeats, Coming Back To Life: If the repeats are faster than the tempo, increase the delay time. 2nd delay 570ms. I go a little in-depth for all three of them, and Ill give some tips on how you can emulate his sound. I have occasionally used spring reverb from an amplifier, but set very low so there is just a hint of that sound. CATALINBREAD ECHOREC - One of my favorite simple Echorec style delays is the Catalinbread Echorec. Alans Psychadelic Breakfast with 2.2 second tape delay_Oct 1970. - David Gilmour, Guitar World magazine. outro solo: 680ms -- feedback: 4-5 repeats. David Gilmour is famous for his unique use of delay and echo. a`Its very reliable, just like the MXR, but its much more versatile and teachable. For real room reverb, mics were placed in different parts of the recording studio to capture the room sound, not just the speaker cabinet from the amp. 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. 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. solo: 580ms, On The Turning Away - Pulse version (TC 2290 Digital Delay): The motor had a fixed speed so one turn of the drum equated to approximately a 300ms delay, but that could vary slightly depending on mains voltage, and volatage fluctuations. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. 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. The primary delay sounds best when in time with the heartbeat tempo in Time, usually somewhere around 240 - 250BPM (beats per minute). It only added a very slight gain boost to his clean amp tone, but . Last update September 2022. 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%. His delay times are slightly faster here. 5. 5 Pedals or Less: How to Sound Like Dave Gilmour Back at it again, the hunt for tone never ends. Shown below are some typical Gilmour DD-2 delay times. Solo: 430ms, Fat Old Sun- 1971/72 live versions: Each was set to 380ms, 7-8 repeats, with the delay volume almost equal to the signal volume. 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. You can also hear multi heads in a few early live Pink Floyd performances of Time and the four-note Syd's theme section from some performances of Shine on You Crazy Diamond. 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. You can also play in time with the delays in a kind of shuffle rhythm. 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: Next cut that delay time in half so you hear two repeats per beat, or 2/4 time. David usually used positions 1-4, for single playback repeats of heads 1-4. Record yourself playing alone verses playing along with a backing track to see what I mean. 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. VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net, This website is frequently updated. For The Wall he switched to the MXR Digital Delay for those accurate and pristine time setups. Gilmour delay: '60s-'70s: Binson Echorec II. 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. From long sustained notes that seem to go on forever, to the most tasty of blues licks, his sound is instantly recognizable. 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. . To get the Pink Floyd sound, you'll need to use some specific equipment and settings. Reaction score. - Pulse version (TC 2290 Digital Delay): outro solo: 430-450ms, One of These Days studio version (Binson Echorec): The simplest option is to use an online Beats Per Minute caculator, like, - David from Guitar Player Magazine, November 1984, I have a bunch of pedals - 4 DDL's - which I use in different combinations, MXR Digitals and the little Boss DD2'sI usually have one DDL with a short single slap on it. There are numerous modern delays that try to replicate this multi-head delay sound, like the Catalinbread Echorec, Strymon Volante, and Boonar Multi-Head Drum Echo from Dawner Prince Electronics, which David himself has used. alternate 2nd Solo: 540ms Later versions of the DD-3 have different circuits. 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. Here is my example of this sound. There are a few occasions where I have heard spring reverb in a Gilmour recording, but it is very rare. When you have a drum and bass note landing at the same time it somewhat masks the repeat. 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. Play the note, let it repeat, then play the note a second time where the 1400ms repeat would be. David used various Echorec models but he was most known for using the Echorec 2 model T7E. For the middle section another piece of technology came into play: an HH amp with vibrato. The Echorec playback heads were spaced so the input signal would repeat at specific intervals, adding delay repeats upon delay repeats. buildup and arpeggio delay time: 300ms -- feedback: 7-8 repeats - delay level: 40% -- delay type: analog, Echoes - live Gdansk Version: As an Amazon Associate, we earn from qualifying purchases. 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. RLH Intro live in 1984 - Live 1984_Hammersmith Odeon and Bethlehem Pennsylvania. - 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. The IC-100 tremolo was set to maximum depth and the trem speed was set so there are two pulses for every delay repeat. WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? Try playing the Comfortably Numb solo with a 380ms delay with 4-6 repeats, versus a longer 540-600ms delay to hear the difference. These are 5 note scales, pretty much the simplest scale a guitarist could use. These were state of the art delays at the time, but were rather noisy effects compared to modern digital delays. - engineer Alan Parsons, on the 1973 Dark Side of the Moon sessions, (left to right) Gilmour's Binson Echorec 2 and Echorec PE 603 stacked on top of his Hiwatts from 1973, and an Echorec 2 from 1974, Binson Echorec PE 603 like the one Gilmour used from 1971-74 in his live rigs. The delay time must also be precisely in time with the song tempo. The settings Gilmour uses usually create a minimal effect, but his sompressors really helps to smooth out the tone and playing. 350ms, Breathe - studio version (several duplicated multi track recordings offset to create the long delay repeats): David bought an Echorec PE 603 model in 1971 that had a maximum delay time of around 377-380ms. 234ms and 150ms also works. 3rd solo: 430ms, Money solos - 2015/16 live version: 5,744. I was able to dismantle them, put them back together, and change the head positioning. SLAPBACK / ADT DELAY - It is not often, but ocassionally there is what sounds like a short slapback delay in Gilmour's guitar recordings, like the "dry" solo in Dogs from the Animals album. delay 2 time: 360ms, Us and Them - Pulse version (TC 2290 Digital Delay): It had a maximum delay time of 320ms, but could be expanded to 1280ms by adding additional memory chips. The studio recording was likely duplicated and played back 440ms behind the original guitar recording to create the effect, or the mixing board was outfitted with a longer delay to create the effect in the mix. Volume 65% It was my very first delay and one of my favorite pedals for Gilmour-ish delay. You can also set the second delay to 254ms, which gives three repeats for every beat and adds a shorter, thick ADT slapback sound to the main 380ms delay. The second is around 94ms, which is 1/5 of 470 (470/5=94). delay 1: 430ms -- feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital The Effect Level (volume) and Feedback (number of repeats) will vary. 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. Below is a breakdown of how to play this effect. Many of the sound effects youll hear on the earlier albums were created with this machine. FINDING THE "TRIPLET" TIME DELAY FOR A SONG - David has sometimes used a rhythmic 3/4 time delay, what he calls "triplet" time. Some delays allow you to dial the volume level of the repeat louder than the signal level, which usually means 100% is when the knob is set to 12 o'clock. Copyright Kit Rae. HH IC-100 amplifier with built in tremolo. I use chorus, little delay and some reverb on my amps clean setting. A single delay set at 1400ms with 3 repeats has a similar feel as well. 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. solos: 440ms -- feedback: 7-8 repeats - delay level: 15% -- delay type: analog 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). HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? Some duplicate the studio album delay times and some duplicate the live delay times. If you have different subdivision settings on your delay, you can then try some of those as they will also be in time with the song tempo. I use the MXR Digital Delay. first solo: 340ms -- feedback: 3-4 repeats intro slide guitar: 1023ms 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. David Gilmour adjusting his MXR rack effects from April 1984, including the MXR 113 Digital Delay, and MXR Digital Delay System II. 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. He would do this for each chord change in the intro to, 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. 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. If your delay does not have a dry defeat feature, it is pointless to use in a parallel setup. solos: 540ms, What Do you Want From Me? second solo: (early in song) 580ms -- feedback: 4-5 repeats -- delay level: 25% -- delay type: analog It covers all of the various ways he used echo - standard 3-4 repeat echo to make the guitar sound like it is in a large hall, using a slide like a violin with long delay repeats, slapback echo, swell mode, long repeats almost to the point of self oscillation, and what David calls "triplet" time, where he plays in time with the dotted eighth repeats. Brian Eno did something similar later in the early-mid '1970s with his famous reel-to-reel frippertronics tape delay effect. 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. It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. You can check this by mute picking a single note simultaneous with a drum beat, then listen to the repeats. It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. Below is my best guess at the delay times David used there. But to sum up, both these digital units sound amazing, because if it didnt David Freakin Gilmour wouldnt be using them. The third solo is also artificially double tracked, which you can simulate with a short 60-90ms slapback delay with one repeat. David Gilmour Sound Part 4/4: DELAY & SETUP HISTORY Musicoff - Where Music Matters 129K subscribers Subscribe 1.4K 243K views 11 years ago David Gilmour ed il suo suono al centro della. Unfortunately the Catalinbread Swell control cannot be set as high as it needs to be for the Time intro, but it gets close. NOTE: This website is frequently updated. solo: 540ms -- feedback: 4-5 repeats -- delay level: 18-20% -- delay type: analog, Any Colour You Like - 1994 live versions: As the song plays on I dial the delay volume and number of repeats higher and higher. Shorter delay times are more obvious because the repeats are heard in between notes and phrases. volume swells in verse section after second solo: 680ms -- feedback: 4-5 repeats The early Boss DD-3 pedal had exactly the same circuit as the DD-2. Time intro test with backing track - 470ms and 94ms. 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. On the extremely rare occasions that David did use mulitple heads it was usually position 7, which was Head 3 + Head 4, 225ms + 300ms.

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