Below is an excerpt of David's bass guitar part, extracted from the 5.1 surround mix of Meddle. If you want to try the two-delay effect on one amp, it is best to place the second delay after the main 380ms delay in your signal chain, and set the second delay repeat volume MUCH lower, with roughly 1/3 the repeats of the main delay. Those are not the type of parallel setup we are talking about here. 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. buildup and arpeggio delay time: 300ms -- feedback: 7-8 repeats - delay level: 40% -- delay type: analog, Echoes - live Gdansk Version: 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. 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. 80x2 = 160. See all posts by Andrew Bell. Below is my best guess at the delay times David used there. They averaged from 290-310ms. David Gilmour adjusting his MXR rack effects from April 1984, including the MXR 113 Digital Delay, and MXR Digital Delay System II. outro solo : 550ms -- feedback: 3-4 repeats, Take It Back: I use the MXR with the read-out on it, so I instantly have the right tempo. For The Wall he switched to the MXR Digital Delay for those accurate and pristine time setups. 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). I think what makes the solo stand out is that it is dead on the beat which isn't as typical for Gilmour. Verse / Chorus : TC 2290 Digital Delay: 430ms 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. 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. 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. 2nd delay 375ms. You can simulate the verse delay with two delays in-line going to one amp. 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. Later versions of the DD-3 have different circuits. Read an explanation about how this is achieved here. Copyright 2023 Killer Guitar Rigs. 2nd delay 570ms. It was strange because it didn't utilize tape loops. 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. 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%. Most analog type delays have a lower quality repeat decay that rolls off more high end on each repeat. solo: 440ms. 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. 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! Its a famous echo unit used by many artists, and useful for varying instruments. Heavy reverb. As the chord rang on, David could then play the melody lines through his main Hiwatt. I also use it to add some of the bigger room and concert hall sounds. 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. Echorec Style Delay Jamming - 428ms and 570ms. 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. Two delays running at different times fill in gaps between delay repeats, making the delay sound smoother with less obvious repeats. Let's see some of the units he used over time. It's a beautiful sound, but David did not use tape delays like this. 650ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Intro / Outro - Pulse version (TC 2290 Digital Delay): 410ms: feedback: 7-8 repeats - delay level: 90% -- delay type: warm digital, Terminal Frost - 1987-89 live version: If you want to somewhat recreate his delay youre in luck, as its pretty simple. Ex-DragonForce Bassist Reveals Why He Really Left the Band, Claims He Was Unhappy and Arguing All the Time With Them, Nuno Bettencourt Recalls How Eddie Van Halen Reacted to His Tapping Technique, Names Favorite Van Halen Album. Copyright Kit Rae. Members; 529 Members; Share; Posted December 21, 2005. verse: 360ms David would use a Binson Echorec in the early days between 1968-1978. - first is 380ms delay in the left channel, then 380ms+507ms in the right channel. For example, 380ms is your triplet time. There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment. intro: David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. When the notes pitch up or down the delay has 4-5 repeats. USING TWO DELAYS AT ONCE - David has sometimes simultaneously used two separate delays with different delay times to create a larger sound, similar to what can be accomplished with the multi heads on an Binson Echorec. It was set for a light overdrive setting and was most likely an always-on pedal. The delay volume is often not very loud in the studio recordings, so in a full band context, the other instruments mask the repeats. How to Sound Like Dave Gilmour - Guitar Lessons London This may be a form of Automatic/Artificial Double Tracking (ADT) or simply a short slapback delay. It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. second solo: (early in song) 580ms -- feedback: 4-5 repeats -- delay level: 25% -- delay type: analog Below is an isolated excerpt of this part. 520ms -- feedback: 4-5 repeats, Obscured by Clouds: Bass: 5-6. 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). You can replicate the tremolo effect with any tremolo pedal, but it is best to use one the that has a square wave setting. 614ms -- feedback: 6-7 repeats, Rattle That Lock: >> Click to read more <<. It is impossible to achieve the exact same tone as a player without using the same equipment. 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. 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. Head 2 = 150ms (or 75ms x 2)..Head 2 = 190ms (or 95ms x 2) BKB Tube Driver, Electro-Harmonix Electric Mistress, TC Nova delay. It's actually a metallic disc that spins around. 147ms (2X the delay repeats), or 2 pulses for every delay repeat. 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. 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. With that said, the rest of the article is designed to . The mode should always be set at 800ms, unless you want a short slapback delay for something like the dry solo in, Kits Secret Guitar, Gear, and Music Page. 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. - David Gilmour from Guitar for the Practicing Musician, 1985. You can check this by mute picking a single note simultaneous with a drum beat, then listen to the repeats. RLH Intro live 1984 style - Boss CS3 compressor, Tube Driver, Boss CE3 chorus, Two Boss DD-2 delays, into a Twin Reverb. If you have a second delay, set that one in series to 930ms, 4-5 repeats, 30-35% volume. If you listen to a song where the band is not playing at all, like intro to Pink Floyd's Coming Back to Life, the delay repeats are very clear. And what I meant with using it as a reverb was that he tends to tune his delay to the rest of the band so that it creates a cohesive piece that captures their signature atmospheric sound. This unit is an incredibly versatile digital delay that many artists use. Great Gig Slide Guitar Breakdown. Time intro test with backing track - 470ms and 94ms. Anyone got some David Gilmour delay settings Anyone got some David Gilmour delay settings. E.g the RATE for most settings had been about 22 more clockwise (slightly faster sweep) on the Wall compared to the Animals tour. intro: 425ms It helps to have the echo repeats of the first delay fall right in between, or on the repeats of the second delay, so it has a rhtmic feel. Gilmour delay: '60s-'70s: Binson Echorec II. RLH Intro live in 1984 - Live 1984_Hammersmith Odeon and Bethlehem Pennsylvania. For the middle section another piece of technology came into play: an HH amp with vibrato. second solo: 660ms -- feedback: 5 repeats, Comfortably Numb - 2015/16 RTL Tour: It's fun to just jam around using the unique delay rhythm it creates. Note or mark that time setting on your delay. 8-10 repeats on each. - David Gilmour, Guitar World March 2015, As I recall, he (David) used a Hiwatt stack and a Binson Echorec for delays. slide guitar solos: 300ms, One Of These Days - 2015/16 live version: Sort of a triplet on top of a triplet time delay. You can simulate the amp tremolo with just about any tremolo pedal or tremolo amp with a square wave shape. Electric Mistress V2, V3, or V4: 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. But to sum up, both these digital units sound amazing, because if it didnt David Freakin Gilmour wouldnt be using them. His first was an MXR 113 Digital Delay System, one of MXR's first rack effects. 440ms -- feedback: 4-5 repeats, No More Lonely Nights: This gives the impression of a 920-930ms delay. David almost always uses delays in his live rigs, not reverbs. Other than a few instances like that, reverb from David rig was not used and I do not recommend it. David used his Workmate Esquire guitar for the studio recording, and usually used a Telecaster when playing it live. 570 x 75% = 427.5. The delays are set in series like this: One of these Days evolved from some of my experiments with the Binson, as did Echoes - David Gilmour, Guitar World February 1993, there are some things that only a Binson will do. An examination of the individual tracks from some of the 5.1 surround sound studio album releases reveals both were used. You can hear this in songs like One of These Days, Short and Sweet, Another Brick in the Wall Parts I and III, Run Like Hell, Blue Light, Give Blood, One Slip, Keep Talking, Take it Back, and Allons-Y. 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. David probably just uses the term triplet because what he does has a similar feel. For most of his 2016 tour he used multiple delays for those parts, but switched to using a Boonar Multi-Head Drum Echo digital delay from Dawner Prince Electronics for the last few concerts. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. That keeps you from getting a loud, double-tappy mess. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. I use the Tremotron from Stone Deaf Effects for this. Parallel is better than in series because the one delay does not repeat the other, and the repeats can run longer without going into oscillation. Regardless, it is the combination of both delay and reverb that makes the delay sound so smooth in some instances. delay 1 time: 90ms For the delay, my favorite for this song is the old Boss DD-2, but any good digital delay will work. David is using two delays from a PCM70 rack delay to simulate the Echorec sound. 1st delay 240ms. USING TWO DELAYS TO MIMIC AN ECHOREC - David stopped using the Echorec live after 1977. I'll keep this simple rather than going into an explanation of time signatures. In this clip I'm using Coming Back to Life as a reference with 700ms. It's a sort of melodic delay to use. This was most likely a reel-to reel recorder set up for a tape-loop delay. As the magnetic tape began to wear out and stretch over time, the repeats would start to degrade and sound dirty and warbly. 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 . 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 exact delay times would be 450ms for the 3/4 time and 600ms for the 4/4 time. intro: 780ms, Coming Back To Life - Pulse version (MXR Digital Delay II and TC 2290 Digital Delay): Volume 85% The main rythm in the left and right channels of the studio recording is domantly the 3/4 time. David Gilmour Delay / Echo - Kit Rae outro solo: 620ms -- feedback: 4-5 repeats, Yet Another Movie - 1987-89 live version: David usually sets his delays in time with the song tempo, which helps hide the echo repeats. Gilmour's delay on Coming Back to Life | The Gear Page I just played the bass through it and made up that little section, which we then stuck on to a bit of tape and edited in. fourth solo: 40-50-ms slapback delay -- feedback: 1 repeat, Echoes Adjust the tone to suit your amp/speaker tone. The simplest option is to use an online Beats Per Minute caculator, like this one. Some songs require softer, warmer analog sounding repeats, and others require cleaner, more accurate digital delay repeats. 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. 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. 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 delays are set in series like this: Last update September 2022. PDF David Gilmour Solo Tone Settings For "Time" For his general ambient delays, choose the most tape flavored setting and use 50%-ish feedback (or 7-8ish repeats) and mix it fairly low so it sounds more like a subtle reverb. That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. He set the time to 310ms for most everything. 630ms: feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital, Sorrow Solo - Pulse version (TC 2290 Digital Delay): Note that I am not talking about spring or amp reverb, or a reverb pedal, which is a completely different sound. Kits Secret Guitar, Gear, and Music Page David Gilmour's delay sounds (part 2) - YouTube A few of David Gilmour's vintage Binson Echorec 2 model T7E delays. ECHOREC DELAY - David was a heavy user of the Binson Echorec from his early days with Pink Floyd in 1969 until the late 1970s. 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. Hes got the sort of guitar-god charisma that comes with his insane talent. - first is 380ms delay in the left channel, then 380ms+254ms in the right channel. I believe that every music school should analyse Pink Floyds music, as theres so much to learn from it. Next cut that delay time in half so you hear two repeats per beat, or 2/4 time. To get the second delay in 4/4 time, multiply 150 x 4 = 600ms. 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. (requires a volume pedal before the delay in signal chain to create the volume swells), Castellorizon: This unit can also be heard on the The Wall album. There is also the "modulation" factor which is a common feaature on modern analog and digital type delays. 480ms: feedback: 7-8 repeats - delay level: 75% -- delay type: clear digital, Sorrow: 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. In some of the studio recordings you are hearing the guitar delay and room sound or studio reverb, not just delay. chords / arpeggios: 480ms 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. second solo: 640ms -- feedback: 6-7 repeats Play the note, let it repeat, then play the note a second time where the 1400ms repeat would be. Guida Al Setup Di David Gilmour - Giampaolo Noto slide violin intro: 300ms -- feedback: 8-9 repeats - delay level: 90-100% -- delay type: analog DELAY TYPES - ANALOG AND DIGITAL - David has used numerous types of delays in his carreer, both analog and digital. 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. HH IC-100 amplifier with built in tremolo. A bit of delay can smooth out the unpleasant, raw frequencies you get from a fuzz box. This way the echo repeat from one delay is not repeating the echo repeat of the other, and the original guitar signal is kept pristine rather than altered by going through two different delays. 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. David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. David Gilmour Tone Building- Signal Chain Order - Kit Rae There is a also bit of light overdrive in the tone. The Echorec playback heads were spaced so the input signal would repeat at specific intervals, adding delay repeats upon delay repeats. A little later he switched to the MXR Digital Delay. But which delay pedal (s) does/did he use? 5 Pedals or Less: How to Sound Like Dave Gilmour Back at it again, the hunt for tone never ends. 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 254ms delays in series - first is 380ms delay in the left channel, then 380ms+254ms in the right channel. 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. If you want this sound and have a delay that shows the time in milliseconds, follow these steps. Tutorial - Run Like Hell (David Gilmour) Delay Setting - YouTube Instead, it used a metal recording wheel. I have a slight roll off of the high frequencies on the repeats to mimic the Echorec sound. David Gilmour Sound Part 4/4: DELAY & SETUP HISTORY - YouTube If running both delays in series, set the repeats however long you can go before oscillation starts, which is 8-10 repeats on most delays. There were varispeed modifications that could be made to the Echorec to give it longer delay times, but it does not appear that David ever had this modification done. 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. 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. second solo: 490ms, What Do you Want From Me? 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. 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.