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For The Wall he switched to the MXR Digital Delay for those accurate and pristine time setups. 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 Gilmour Tone Building- Signal Chain Order - Kit Rae 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. But fear not, if you want a semi-authentic Echorec experience, Catalinbread makes an Echorec pedal that sounds very close to the original. Gilmour used the same 294ms delay from the Echorec plus the built in vibrato from an HH IC-100 amplifier, which was a very choppy tremolo effect. By the way, you might also want to check out our top picks for the best delay pedals, our guides to the delay pedals used bySlashandEddie Van Halen, as well as our tips for where to place your delay in the chain withreverbandchoruspedals. a`Its very reliable, just like the MXR, but its much more versatile and teachable. Anyone got some David Gilmour delay settings Although it is simple to play, you must play exactly in time with the delay or it will sound sloppy. 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 use 240ms. 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). Depending on your second delay EQ, you may need to experiment with the number of repeats and repeat volume. As the chord rang on, David could then play the melody lines through his main Hiwatt. - Boss CS-2 and Dyncomp compressors first, then CE-2B chorus in left channel added, the delay added, then plate reverb added. Delay volume 65% This is actually not quarter-note triplets. The delay time must also be precisely in time with the song tempo. buildup and arpeggio delay time: 300ms -- feedback: 7-8 repeats - delay level: 40% -- delay type: analog, Echoes - live Gdansk Version: 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%. Its a core part of Pink Floyds earlier sound, and not just for Davids guitar. Below is a medley of David using the Echorec from 1969-1977. fills under second and fifth solos: 507ms -- feedback: 4-5 repeats - David Gilmour, Guitar World March 2015, As I recall, he (David) used a Hiwatt stack and a Binson Echorec for delays. The other is more natural sounding because it is added post amplification, which is more like what real reverb does. rhythm/verse/chorus sections: 340ms -- feedback: 3-4 repeats It is said that he switched from an Echorec to an MXR for ease of use. There is a 440ms delay on the guitars in the studio recording. 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. You can also get something similar with one 650ms delay set for 2 repeats. The second delay David used was the MXR Digital M-113 Delay. It is impossible to achieve the exact same tone as a player without using the same equipment. Sort of a triplet on top of a triplet time delay. Those are not the type of parallel setup we are talking about here. 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: ECHOREC DELAY - David was a heavy user of the Binson Echorec from his early days with Pink Floyd in 1969 until the late 1970s. Then go to a website with a Delay Time Calculator, like the one on this page. The reverb could have been added in the mixing stage, or it could be natural room reverb from mics positioned in the recording studio to capture the natural room sound. 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. 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. Its not a cheap pedal (around 250$ new), but its way cheaper than an original. 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 (Pulse): 490ms, Astronomy Domine - Pulse version (MXR Digital Delay System II for solo) Below are some specific Gilmour settings I use. The sustained verse chords and chorus chords (the "run, run, run" part) were also double tracked with the same delay time, but slightly less repeats. David Gilmour Sound Part 4/4: DELAY & SETUP HISTORY - YouTube 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. 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. There is also the "modulation" factor which is a common feaature on modern analog and digital type delays. It makes for a sound that really adds depth to the guitar tone in the mix, but is not cluttered by delay repeats. intro: 780ms, Coming Back To Life - Pulse version (MXR Digital Delay II and TC 2290 Digital Delay): Too much can severely alter your guitar tone before it hits the amp, washing out the definition and clarity. 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. 360ms -- feedback: 8 repeats -- delay level 100% -- delay type: digital, Great Gig in the Sky - live version first solo: 340ms -- feedback: 3-4 repeats 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. 650ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Intro / Outro - Pulse version (TC 2290 Digital Delay): 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. Below are examples of a few ways to set up the type of parallel signal chain used in Gilmour's rigs. He did sometimes use the Swell mode. One of the ways to do that, is by using your effects creatively, just as he does. #4. David would use the latter setting for most of the album. -, David Gilmour interview by Bob Hewitt from Guitarist, June 1986, FINDING THE "TRIPLET" TIME DELAY FOR A SONG. The Mode switch is in position 7, which is Head 3 + Head 4. studio . David also had an MXR 113 Digital Delay System that could do that delay time. CATALINBREAD ECHOREC - One of my favorite simple Echorec style delays is the Catalinbread Echorec. intro: 440ms To get the second delay in 4/4 time, multiply 150 x 4 = 600ms. first solo: 507ms -- feedback: 2-3 repeats 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. For the delay, my favorite for this song is the old Boss DD-2, but any good digital delay will work. Brian Eno did something similar later in the early-mid '1970s with his famous reel-to-reel frippertronics tape delay effect. In four beats you will hear 5 repeats (including the pick), and and that fifth repeat will time right on the fourth beat. - Phil Taylor, David's backline tech. David was very much in control of his sound system We rarely added effects to his guitar in the control room. Occasionally David may be using a long repeat time on one delay, and a shorter repeat time on another delay simultaneously. 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. This unit is an incredibly versatile digital delay that many artists use. The primary reason is becasue the delay time is usually set in time with the tempo of the song, so each repeat lands on the beat. I use the Tremotron from Stone Deaf Effects for this. He began using digital delays in place of the Echorec around 1977. solo: 540ms -- feedback: 4-5 repeats -- delay level: 18-20% -- delay type: analog, Any Colour You Like - 1994 live versions: 2nd delay 165ms. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. Below is a breakdown of how to play this effect. 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. The 450ms delay should come before the 600ms delay in your signal chain. Solo: 300ms. Some duplicate the studio album delay times and some duplicate the live delay times. This website is frequently updated. 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. There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. The first delay is set to 570ms, which is the 4/4 time, and the second is set to 428ms, which is the 3/4 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. intro slide guitar: 1023ms Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. Delay times vary by song but anything between 300mms and 600 makes a decent one size fits all. I'll keep this simple rather than going into an explanation of time signatures. solos: 540ms, What Do you Want From Me? The TC Flashback can be set up with the Tone Print edito. 500ms -- feedback: 5-6 repeats. slide solo: 550ms -- feedback: 4-5 repeats 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. Volume 85% Both delays are in series with the delay volume around 75% and about 9 repeats. My sound has everything to do with what sounds good to me. The tape splices were then camouflaged with cymbal crashes. The first delay is 380ms, 10-12 repeats, delay voume 95%. HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? Its hard to give an estimate as every pedal will respond differently. One is added before the signal hits the amplifier and speakers, so the reverb itself is amplified and prcessed by the amplifier circuitry. which is what gives the verse section that floaty, ethereal feel. Here is my example of this sound. 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. Listening to the trails specifically, something a little darker like a DM-2 would do it. PDF David Gilmour Solo Tone Settings For "Time" Its more modern than the MXR, but it sounds just as good. I use the MXR with the read-out on it, so I instantly have the right tempo. They want to play and sound just like the man himself. VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net, This website is frequently updated. 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. A large part of that comes from Davids use of delay. The most recognisable and somewhat stereotypical sound that Pink Floyd uses is their ambience. The Binson Echorec is an analogue echo unit made by Binson in Italy. 20K views 9 years ago My Delay settings for Run Like Hell as played by David Gilmour, Pink Floyd. Sound Like Pink Floyd: Amp Settings And Gear Guide It's all on a D pedal. 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 . Copyright Kit Rae. 3rd solo: 430ms, Money solos - 2015/16 live version: David Gilmour Lead Guitar Tone PDF Download David would use a Binson Echorec in the early days between 1968-1978. WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? The delay was such an integral part of their sound, then almost any Pink Floyd song wouldnt sound complete without Davids signature delay sounds. Electric Mistress - How to use it - Settings The 4/4 delay can barely be heard on the studio recording and is really not necessary, but it is fun to experiment with two delays. Verse / Chorus : TC 2290 Digital Delay: 430ms I don't care how I get it. Gilmour's delay on Coming Back to Life | The Gear Page 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. Below is an example of me using an Echorec style delay in a cover of Pink Floyd's 1969 song Dramatic Theme form the More album. David probably just uses the term triplet because what he does has a similar feel. The Mooer Elec Lady is a good, inexpensive clone of the Electric Mistress that sounds much closer to the original large box Mistress. He has a 2.2 second delay on the guitar so he can play over his repeats, building up layer upon layer of guitar repeats. 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. 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. Later versions of the DD-3 have different circuits. For the studio albums however, there is definitely reverb in many of the recordings, and in some cases much more so than delay. 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. Below is a breakdown switching between the various tracks of all three solos. A 300ms and 380ms delay had the heads repeating in these specific delay times. It's a beautiful sound, but David did not use tape delays like this. The official live recordings often have an even larger delay sound than the studio versions. It has a certain feel, which sounds boring and ordinary if you put it in 4/4. 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. 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.