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. Run Like Hell with 380ms and 507ms delay in series. Set the delay time so the repeats are in time with the song tempo (beats per minute) or drum beat, approximately one repeat for every beat. How to Set Two Delays for Run Like Hell - one in 380ms and one in 507ms, in series so the 380ms delay is repeated by the 507ms delay (actual DD-2 settings shown above), Example of Two Delays Run In Stereo - parallel delays, 380ms (both channels) and 507ms (right channel only), going to separate amps, Example of Two Delays Run In Stereo - prallel delays, 380ms (left channel) and 507ms (right channel), going to separate amps. It also stems from the fact that people tend to look at things with their wallets, and analog gear is often much more expensive than its digital counterpart. which is what gives the verse section that floaty, ethereal feel. outro solo : 550ms -- feedback: 3-4 repeats, Take It Back: verse / chorus: 435ms, Wearing the Inside Out: - Boss CS-2 and Dyncomp compressors first, then CE-2B chorus in left channel added, the delay added, then plate reverb added. Theyre so famous they sell for a very high price and are deemed a collectable for many. Use the feedback option to set it right where you think it sounds closest. 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. 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. verse / chorus: 430ms, Us and Them - 2016/15 live version: Play the note, let it repeat, then play the note a second time where the 1400ms repeat would be. 2nd delay 375ms. Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. Example: You determine the 4/4 beat/song tempo is 600ms. That keeps you from getting a loud, double-tappy mess. For the delay, my favorite for this song is the old Boss DD-2, but any good digital delay will work. In four beats you will hear 5 repeats (including the pick), and and that fifth repeat will time right on the fourth beat. On the left is my standard setting range for the early 1970s Gilmour Echorec sound. 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 . 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. Electro-Harmonx has made a few small boxed versions of the Electric Mistress, but these have different circuits and sounds as the originals. He has used this type of setup in his 1987-89 rig, his 1994 rig, and in his 2006 On An Island tour rig. The type of multi-head repeats varied depending on which of the four playback heads were selected. It's fun to just jam around using the unique delay rhythm it creates. Solo: TC 2290 Digital Delay: 430ms, Time - Delicate Sound of Thunder version (TC 2290 Digital Delay) : POWER BOOST PLACEMENT - The Colorsound Power Boost was an overdrive that David used throughout the 1970s. Some are actually too high quality for my personal taste. David's Echoes delay time of 300ms, one for the delay in Time, and 423ms in the display. outro arpeggio riff: 310ms, Shine On You Crazy Diamond VI-IX (Binson Echorec): The reason David used multiple delays was to set each for a different delay time setting for specific songs and to adjust delay time on-the-fly during shows. The other delay is set in 4/4 time (quarter notes) at 507ms, or one repeat on every beat. Alans Psychadelic Breakfast with 2.2 second tape delay_Oct 1970. The first delay is definitely set to 470ms, which is the 4/4 time. The TC Flashback can be set up with the Tone Print edito. Its not a cheap pedal (around 250$ new), but its way cheaper than an original. delay 2 time: 1100ms -- feedback: 1 repeat - delay level: 10% -- delay type: warm digital, Today - 2016/15 live version: Members; 529 Members; Share; Posted December 21, 2005. Dec 23, 2015. analog gear was not as good as digital at the time, so the belief that analog is always better than digital arose. - 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. But the delay was in 3/4 increments of the beat and the vibrato went with the beat. 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. 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. David was very much in control of his sound system We rarely added effects to his guitar in the control room. >> Click to read more <<. verse/chorus sections: 310ms -- feedback: 3-4 repeats 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). 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. tremolo effect for middle section: 294ms delay, 7-8 repeats / tremolo with gated square wave, depth set to maximum, and speed set for It plays through first with the guitar and delay, then plays through again with just the left channel dry guitar, then again with the right channel, which is a multi tracked guitar, but delayed behind the left channel guitar. 1st delay 470ms. There is also the "modulation" factor which is a common feaature on modern analog and digital type delays. Getting an original Binson Echorec these days is nearly impossible. 3. All rights reserved. The Mooer Elec Lady is a good, inexpensive clone of the Electric Mistress that sounds much closer to the original large box Mistress. 560ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Solo - Strat Pack version: It features two separate bass guitar tracks played in time with a single head delay (head 4) from the Echorec. To add some modulation and a spacious feel to the delay tone on the studio recording David used either a Yamaha RA-200 rotary speaker cabinet or an Electric Mistress flanger. 530ms -- feedback: 4-5 repeats, Coming Back To Life: first solo: 450ms -- feedback: 4-5 repeats -- delay level: 20% -- delay type: analog volume swells: 1100ms -- feedback: 4-5 repeats. What delay pedal does David Gilmour? One of the only audible examples of the multi heads in use in a Pink Floyd studio recording is the intro to the song, a few early live Pink Floyd performances of. He set the time to 310ms for most everything. First is the delay, then the square wave tremolo, then both together. solos: 660ms -- feedback: 6-7 repeats, Time: You can use two delays in series (one after the other) or in parallel (each in a seprate signal path) to get David's multi-head Echorec style repeats. Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. If you want this sound and have a delay that shows the time in milliseconds, follow these steps. solo: 380ms -- feedback: 5-6 repeats, Marooned - 1994 live version: The main delay rhythm that runs throughout the song is two guitars, one in the left channel and one in the right. Or you can simply multiply the 4/4 time x75% and get the same 3/4 time. The first delay is 380ms, 10-12 repeats, delay voume 95%. 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. Copyright 2023 Killer Guitar Rigs. ..(later in song): 450ms -- feedback: 4-5 repeats -- delay level: 25% -- delay type: analog, Comfortably Numb - 1980-81 live version: intro: TC 2290 Digital Delay and PCM 70 Delay: Delay 1= 470ms / Delay 2 = 94ms For the wet 1st and 3rd solos from Money I use basically the same settings, but I dial the mix knob up a bit for the third section after the dry solo. He used both in his 1980s live rigs, and continued to use the MXR System II up until 2016. They averaged from 290-310ms. This obviously means that a lot of guitarists want to be like him. Great Gig Slide Guitar Breakdown, Here's another, starting with the dry guitar in the left channel, then the right channel with the 440ms delay. I use one of their old ones most of the time because the width is narrower. intro: 650ms, Coming Back To Life - 2015/16 live version: 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. MXR DIGITAL DELAYS - David began using digital delays in 1977. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. To do this manually, turn the feedback on your delay up to around 80% or so, so the repeats are almost infinite. One of the smoothest guitarists in rock, Pink Floyd's David Gilmour has built a reputation for great melodic control and an expressive soloing approach that has influenced millions. This creates a different bouncy feel to the delay rhythm. There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment. 380ms -- feedback 7-8 repeats - delay level: 90% -- delay type: digital, Run Like Hell - 1984 live versions - two delays in series, each with a different delay time (MXR M113 Digital Delay and Boss DD-2): 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). It still retained the warmth of the original signal rather well, but there is no high end roll-off in the repeats, so it is not "warm" analog delay in that regard. 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. 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. Too much can severely alter your guitar tone before it hits the amp, washing out the definition and clarity. When he began using digital delays in 1977 he started to use longer delay times and specific times to rhythmically work with the song tempos. You could get some wonderful delay effects that aren't attainable on anything that's been made since. Gilmour used a similar gated tremolo effect for the sustained chords in the verse sections of Money, using the noise gate from an Allison Research Kepex (Keyable Program Expander) studio module, modulated with an external sine wave generator (according to engineer Alan Parsons). Speaking from personal experience, furthering my understanding of tone has simultaneously been one of the most rewarding and frustrating experiences of my life. intro: 640ms: feedback: 4-5 repeats - delay level: 25% -- delay type: clear digitalsolos: 540ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Solo and intro/outro - Delicate Sound of Thunder version (TC 2290 Digital Delay): HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? The Free the Tone Ambi Space pedal is my favorite device for this. 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. HOW TO FIND THE PROPER DELAY TIMES - You can go here 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. WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? Even better is to run the delays parallel so one delay does not repeat the other, which sometimes sound messy. If you have a good sound in the room or hall you are playing in, there is no need to add reverb, but in small or dead sounding rooms, adding a small amount of reverb in your effects rig can really enhance the sound. Below are settings to get that sound. outro: 340ms -- feedback: 3-4 repeats, Shine On You Crazy Diamond I-V (Binson Echorec): This is actually not quarter-note triplets. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. Starting with the finer details of the setup's tone like amp EQ and drive pedal levels and EQ will help you hear everything much more clearly before adding all the delay and reverb. In live performances he usually used playback Head 4 for the maximum delay time of around 300ms. So why don't you hear the repeats most of the time? Exact 3/4 time is 150 x 3 = 450ms, which is our main delay time. 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. 525ms, Sorrow Solo - 2016/15 live version: 5,744. For Run Like Hell, David's using what he refers to as "triplets".. moderate reverb, probably from the plate reverbs at Abbey Road studios. BKB Tube Driver, Electro-Harmonix Electric Mistress, TC Nova delay. Unless otherwise noted, all delay times are shown in quarter notes The specific delays he used were as I said the Binson Echorec, the MXR M-113 Digital Delay, and the TC Electronic 2290. Both types have been described as "warm" sounding, which can get confusing. 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%. solo: 430ms -- feedback: 7-8 repeats - delay level: 20% -- delay type: digital, Time - 2016/15 live version: alternate: 380ms, High Hopes - 2015/16 live version: Echorec 2 ..Echorec PE 603 Again, I'll simulate that with only two dominant delays. Regardless, it is the combination of both delay and reverb that makes the delay sound so smooth in some instances. The repeats had a warm high end roll off, similar to David's Binson Echorecs. The early Boss DD-3 pedal had exactly the same circuit as the DD-2. second solo: 560ms -- feedback: 3-4 repeats, On An Island - 2006 live versions: 380ms -- feedback: 3-4 repeats, On The Turning Away - 1991 live Amnesty International Big 3 O version: 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. Set the 600ms dealy to half the repeats of the main delay, with a MUCH lower delay volume. 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. There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment.. Check here for more Big Muffs to achieve the Gilmour tone. Read an explanation about how this is achieved here. His first was an MXR 113 Digital Delay System, one of MXR's first rack effects. Head 2 = 2/4 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. I'll keep this simple rather than going into an explanation of time signatures. Song tempos are rarely exactly the same every performance, but the SOYCD tempo is usually around 140 bmp. solo: 475ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Hey You - Pulse version (TC 2290 Digital Delay): 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. If you are playing at home on your amp with delay, the delay sound will be much more apparent than when you are playing with a full band, where the delay repeats will blend in the band mix much better. delay 2: 430ms, In Any Tongue - 2015/16 live version: extended version solo: 430ms, Rattle That Lock - 2016/15 Live version: It also stems from the fact that analog equipment is frequently much more expensive than it is worth. The main rhythm guitar, chords, and fills are all double tracked. outro solo: 680ms -- feedback: 4-5 repeats. 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. 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. That equates to 428ms, which we will call the 4/4 time. If your delay does not have a dry defeat feature, it is pointless to use in a parallel setup. He did sometimes use the Swell mode. It has a digital readout, but it's really nowhere close to being accurate. Let's see some of the units he used over time. The slide parts actually were played on a pedal steel, a Fender 1000, but David just used it as a slide guitar and removed the foot pedals. All those divisions and subdivisions will be in time with the song. Reaction score. It's a sort of melodic delay to use. He always kept the Echorec in tip top shape, and after the MXR Delay System used a variety of digital delays, including the DD2 and later the TC 2290. Instead, it used a metal recording wheel. slide guitar solos: 400ms, On the Run (The Traveling Section) - early live guitar version from 1972 (Echorec PE 603): There are several reasons. 2nd delay 165ms. - 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. To truly delve into David Gilmour's sound, you'd need to do a lot of research and buy a lot of vintage gear. 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. Below is a breakdown of how to play this effect. In this video I'm demonstrating how to set up your David Gilmour delay sounds and settings. - 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.

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